LITTLE  WOMEN 

A  COMEDY  IN  FOUR  ACTS 

BY 
MARIAN  DE  FOREST 

ADAPTED  FROM  THE  STORY  BY  LOUISA  M.  ALCOTT 
BY  ARRANGEMENT  WITH  JESSIE  BONSTELLE 

COPYRIGHT,  1911,  BY  MARIAN  DE  FOREST 
COPYRIGHT,  1921,  BY  SAMUEL  FRENCH 


ALSO  COPYRIGHT  IN  GREAT  BRITAIN  AND  DOMINION  OF 
CANADA,  1921,  BY  SAMUEL  FRENCH 


ALL  RIGHTS  RESERVED 


CAUTION. — Professionals  and  amateurs  are  hereby  warned 
that  "LITTLE  WOMEN,"  being  fully  protected  under  the 
copyright  laws  of  the  United  States,  Great  Britain  and 
Dominion  of  Canada,  is  subject  to  royalty,  and  anyone 
presenting  the  play  without  the  consent  of  the  owners  or 
their  authorized  agents  will  be  liable  to  the  penalties  by 
law  provided.  Applications  for  the  amateur  acting  rights 
must  be  made  to  SAMUEL  FRENCH,  28-30  West  38th  St., 
New  York.  Applications  for  the  professional  acting 
rights  must  be  made  to  William  A.  Brady,  The  Playhouse, 
West  48th  St.,  New  York. 


New  York: 
SAMUEL  FRENCH 

Publisher 
88-30   West    38th    Street 


London : 

SAMUEL   FRENCH,   Ltd. 

26    Southampton    Street 

Strand 


Especial  notice  should  be  taken  that  the  possession  of 
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or  license  to  professionals  or  amateurs  to  produce  the  play 
publicly  or  in  private  for  gain  or  charity. 

In  its  present  form  this  play  is  dedicated  to  the  reading 
public  only,  and  no  performance,  representation,  produc- 
tion, recitation,  or  public  reading  may  be  given  except  by 
special  arrangement  with  Samuel  French,  28-30  West  38th 
Street,  New  York. 

This  play  may  be  presented  by  amateurs  upon  payment 
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ance, payable  to  Samuel  French,  28-30  West  38th  Street, 
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Whenever  the  play  is  produced  the  following  notice  must 
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play:  "Produced  by  special  arrangement  with  Samuel 
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Attention  is  called  to  the  penalty  provided  by  law  for 
any  infringement  of  the  author's  rights,  as  follows. 

"SECTION  4966: — Any  person  publicly  performing  or  rep- 
resenting any  dramatic  or  musical  composition  for  which 
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heirs  and  assigns,  shall  be  liable  for  damages  thereof, 
such  damages,  in  all  cases  to  be  assessed  at  such  sum,  not 
less  than  one  hundred  dollars  for  the  first  and  fifty  dol- 
lars for  every  subsequent  performance,  as  to  the  court 
shall  appear  to  be  just.  If  the  unlawful  performance  and 
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persons  shall  be  guilty  of  a  misdemeanor,  and  upon  con- 
viction shall  be  imprisoned  for  a  period  not  exceeding  one 
year."— U.  S.  Revised  Statutes:  Title  60,  Chap.  3. 


ttheater  Arts 
Library 

liao 


CHARACTERS  IN  THE  PLAY 


MR.  MARCH 

MRS.  MARCH 

MEG 

Jo 

BETH 

AMY 

AUNT  MARCH 

MR.  LAURENCE 

LAURIE 

PROFESSOR  BHAER 

JOHN  BROOKE 

HANNAH  MULLETT 


SYNOPSIS 

ACT  I — Sitting  room  of  the  March  home  in  Con- 
cord, Mass.,  December,  1863. 

"It  was  a  comfortable  old  place,  though  the 
carpet  was  faded  and  the  furniture  very  plain, 
for  a  good  picture  or  two  hung  on  the  walls, 
books  filled  the  recesses,  chrysanthemums  and 
Christmas  roses  blossomed  in  the  windows,  and 
a  pleasant  atmosphere  of  home  peace  pervaded 
it." 

ACT  II.— Scene  I.— The  same,  three  months  later. 
Morning,  March,  1864. 

(The  curtain  will  be  lowered  for  a  few  mo- 
ments to  denote  a  lapse  of  time.) 

Scene  II. — The  same,  six  months  later.  Late 
afternoon,  September,  1864. 

ACT  III. — The  same,  two  and  one-half  years  later. 
Afternoon. 

ACT  IV. — The  apple  orchard,  Plumfield,  eighteen 
months  later.  Afternoon,  October,  1868. 


The  play  staged  in  New  York  bv  Jessie  Bonstelle 
and  Bertram  Harrison.  In  London,  England,  by 
Jessie  Bonstelle. 


LITTLE  WOMEN 

Original  cast  as  produced  in  New  York  City  at 
The  Playhouse,  October,  1912,  by  William  A.  Brady. 

MR.  MARCH Lynn  Hammond 

MRS.  MARCH Gertrude  Berkeley 

MEG , Alice  Brady 

Jo Marie  Pavey 

BETH Gladys  Hulette 

AMY Beverly  West 

AUNT  MARCH Mrs.  E.  A.  Eberle 

MR.  LAURENCE Carson  Davenport 

LAURIE Howard  Estabrook 

PROFESSOR  FREDERICK  BHAER Carl  Sauerman 

JOHN  BROOKE John  Cromwell 

HANNAH  MULLETT Lillian  Dix 

Original  cast   for  the  London  production,  New 
Theatre,  November  10,  1919. 

MR.  MARCH Alfred  A.  Harris 

MRS.  MARCH Henrietta  Watson 

MEG Joyce  Carey 

Jo Katharine  Cornell 

BETH Hattie  Hanson 

AMY Eva  Rowland 

AUNT  MARCH Kate  Phillips 

MR.  LAURENCE Sydney  Paxton 

LAURIE Antony  Holies 

PROFESSOR  ANTOINE  BARET Leslie  Faber 

JOHN  BROOKE Henry  C.  Hewitt 

HANNAH  MULLETT Ada  Palmer 

NOTE. — For  the  English  production  the  character 
of  PROFESSOR  BHAER,  which  is  German,  was  changed 
to  that  of  Professor  Antoine  Baret,  and  the  speeches 
were  rewritten  into  French. 
5 


NOTE 

For  the  rehearsal  in  the  first  act,  the  text  is  taken  almost 
verbatim  from  "Comic  Tragedies  by  Jo  and  Meg,"  the  book 
published  by  Little,  Brown  &  Co.,  of  Boston,  Mass.,  U.S.A., 
of  the  plays  written  by  Jo  and  Meg  and  acted  by  the  Little 
Women.  The  names  of  the  characters  are  from  "Norma, 
or  the  Witch's  Curse,"  and  "The  Captive  of  Castile,  or  the 
Moorish  Maiden's  Vow." 


Little  Women 


ACT    I 

SCENE. — Sitting  room  in  the  March  home. 

"It  was  a  comfortable  old  place,  though  the 
carpet  was  faded  and  the  furniture  very  plain, 
for  a  good  picture  or  two  hung  on  the  walls; 
books  filled  the  recesses,  chrysanthemums  and 
Christmas  roses  blossomed  in  the  windows,  and 
a  pleasant  atmosphere  of  home  peace  pervaded 
it." 

TIME. — Afternoon,  December,  1863. 

SETTING. — Set  for  Act  I,  also  for  Acts  II  and  III, 
which  are  not  changed,  except  for  the  back 
drops,  which  are  changed  for  the  season  of  the 
year. 

Large,  square,  old-fashioned  sitting  room, 
with  deep  wide  window  at  centre  back,  filled 
with  growing  plants.  The  window  is  backed  by 
drop,  showing  LAURENCE  mansion  across  the 
garden.  Scene  stands  for  three  acts,  only  the 
drop  changed. 

The  March  room,  with  plain  white  ceiling — 

scene  not  over  16  feet  in  height,  old-fashioned 

wall  paper,  with  border  and  baseboard.   Niche 

in  the  wall  on  right  side  of  window  at  back. 

7 


LITTLE  WOMEN 

A  little  cupboard  underneath  it  where  MEG  gets 
BETH'S  picturebook.  Both  side  walls  oblique 
toward  the  back.  Hall  door  in  flat  left  1st, 
showing  little  trellis  and  porch  and  crude  wooden 
seat;  window,  left  2d.  From  left  ^d,  old-fash- 
ioned staircase  runs  back  and  up  about  six  steps 
to  a  square  landing,  then  three  steps  to  platform 
off  into  an  arched  exit  left  3.  Old-fashioned 
small  oval  window  in  flat  on  top  of  staircase. 
Coat  closet  under  staircase  and  seat  in  the  elbow 
of  staircase.  Mahogany  newel  posts,  white 
spindles.  Mahogany  handrail,  very  solid. 

Right,  ist,  door  leading  into  MR.  MARCH'S 
study,  in  wing.  Right  2d,  old-fashioned  fire- 
place and  mantel,  with  brass  andirons,  logs,  bel- 
lows, poker,  hearth-brush,  etc.,  everything  for 
practical  use.  On  mantel,  brass  candlesticks, 
clock,  Parian  figure  of  Venus.  Right  $d,  double 
doors  to  dining  room.  Backing  s.et  oblique  so  as 
to  show  suggestion  of  dining  room.  Lace-cur- 
tained windows  in  backing. 

Furniture,  old  mahogany  and  rosewood, 
covered  with  haircloth  or  faded  tapestry  or 
damask.  Faded  Brussels  carpet  of  old-fash- 
ioned, flowered  pattern.  Rug  in  front  of  fire- 
place Large  easy  chair  R.  Footstool  R.  Round 
mahogany  table  with  one  centre  leg  c.  Large 
upholstered  chair  R.  of  table.  Small  chair  back 
of  table.  Old-fashioned  Windsor  chair  with  cre- 
tonne seat  and  back  cushions'  tied  on  L.  of  table. 
Old-fashioned  sofa  with  pillows  placed  in  win- 
dow in  Act  30?.  Smaller  chairs;  work-baskets. 
Whatnot  in  corner;  bust  of  Plato  in  niche  at 
back.  Bust  of  Shakespeare  on  hanging  book- 
shelves on  wall  at  back.  Bust  of  Mozart  on 
piano,  which  is  an  old-fashioned  cottage  upright 
with  candlesticks.  This  sets  against  right  side 


1 


LITTLE  WOMEN  9 

of  staircase,  forming  space  for  three-cornered 
'whatnot. 

NOTE. — The  study  door  right  ist — solid  mahogany 
(painted  white  china  knobs  on  all  doors) — opens 
up  and  off-stage.  Double  mahogany  doors  open 
off  into  dining  room.  Door  under  staircase  to 
closet  white  like  woodwork,  with  large  black 
hinges.  Door  left  ist,  mahogany.  Open  on 
stage  and  up — brass  knocker  on  the  outside. 
LIGHTS.— At  rise  LIGHTS  AMBER. 

NOTE. — No  change  of  lights  was  made  during  first 
act  in  New  York.  Frosted  throughout  entire 
act. 

AT  RISE.— Discovered  the  four  MARCH  girls:  Jo, 
lying  on  the  hearth  rug,  boyish  attitude;  her 
hands  behind  her  head.  MEG,  sewing,  sitting  R. 
of  c.  table  on  the  side  toward  the  fire;  AMY,  also 
at  the  table,  but  more  in  the  foreground,  be- 
side her  sketching  things,  drawing-board  on  her 
lap,  such  as  artists  use,  evidently  copying  the 
figure  on  the  mantel-shelf,  towards  which  she 
looks  every  few  moments,  making  occasional 
erasures,  showing  desire  to  get  copy  as  near  the 
original  as  possible.  BETH,  cuddled  down  on  a 
low  stool  near  the  chimney  corner,  knitting  on  a 
long  blue  army  stocking  and  rocking  small 
home-made  doll  cradle.  Evident  from  the  va- 
cant easy-seat  in  front  of  the  fire  and  the  pair 
of  slippers  on  the  hearth-rug  that  some  one  is 
expected. 

NOTE. — Tempo  of  first  act  must  be  quick.  Jo  must 
set  the  pace. 

Medium  Slow  Curtain. 
Music.— "Auld  Lang  Syne."    PP. 
Jo.   (Rolls  over  on  stomach  with  elbows  on  stage, 


io  LITTLE  WOMEN 

chin  in  hands)  Christmas  won't  be  Christmas  with- 
out any  presents. 

MEG.  (Sewing  carpet  rags.  Looking  down  at  her 
dress,  which  is  faded  wnd  shabby)  It's  so  dread- 
ful to  be  poor ! 

AMY.  (Drawing,  looking  injured)  I  don't  think 
it's  fair  for  some  girls  to  have  plenty  of  pretty 
things  and  others  nothing  at  all. 

BETH.  (Knitting,  contentedly)  We've  got  Father 
and  Mother  and  each  other. 

Jo.  (Sadly)  We  haven't  got  Father  and  shan't 
have  him  for  a  long  time.  I  think  it  was  splendid 
of  him  to  go  off  to  the  war  as  a  chaplain  when  he 
was  too  old  to  be  drafted  and  not  strong  enough 
for  a  soldier.  Wish  I  could  go  as  a  drummer,  or  a 

nurse,  or  a  viva — viva (Laughs)  What's  its 

name? 

MEG.  You  know  why  Mother  proposed  not  hav- 
ing any  presents  this  Christmas  was  because  it's  go- 
ing to  be  a  hard  winter  for  everyone ;  and  she  thinks 
we  ought  not  to  spend  money  for  pleasure,  when  our 
men  are  suffering  so  in  the  army. 

Jo.  Well,  the  little  we  should  spend  wouldn't  do 
any  good.  We've  each  got  a  dollar.  (Girls  sigh) 
I  agree  not  to  expect  anything  from  you  or  Marmee, 
but  I  do  want  to  buy  Undine  and  Sintram  for  my- 
self. I've  wanted  it  so  long. 

BETH.  (Wistfully)  I  planned  to  spend  mine  on 
new  music. 

AMY.  (Decidedly,  examining  pencil)  I  shall  get 
a  nice  box  of  drawing  pencils.  I  really  need  them. 

Jo.  (Sits  up)  Mother  didn't  say  anything  about 
our  money,  and  she  won't  wish  us  to  give  up  every- 
thing. Let's  each  buy  what  we  want  and  have  a 
little  fun.  I'm  sure  we  work  hard  enough  to  earn  it. 
(Examines  the  heels  of  her  shoes) 

MEG.    I  know  I  do,  teaching  those  tiresome  chil- 


LITTLE  WOMEN  n 

dren  all  day,  when  I'm  longing  to  enjoy  myself  at 
home. 

Jo.  You  don't  have  half  as  hard  a  time  as  I  do 
with  Aunt  March.  How  would  you  like  to  be  shut 
up  for  hours  with  a  nervous,  fussy  old  lady,  who 
keeps  calling  "JosePnme — Josephine!"  (Imitating 
AUNT  MARCH.  Girls  laugh) — is  never  satisfied,  and 
worries  you  till  you're  ready  to  fly  out  of  the  win- 
dow or  cry? 

BETH.  I  know  it's  naughty  to  fret,  but  I  do  think 
that  washing  dishes  and  keeping  things  tidy  is  the 
worst  work  in  the  world. 

AMY.  I  don't  believe  any  of  you  have  as  "tryinger" 
(girls  laugh)  a  time  as  I  do,  for  you  don't  have  to 
go  to  school  with  impertinent  girls,  who  laugh  at  your 
dresses,  insult  you  when  your  nose  isn't  nice,  and 
label  your  father  if  he  isn't  rich. 

Jo.  (Laughing)  If  you  mean  libel,  I'd  say  so 
and  not  talk  as  if  papa  was  a  pickle  bottle. 

AMY.  (With  injured  dignity)  I  know  what  I 
mean,  and  you  needn't  be  "statirical"  (Laugh)  about 
it.  It's  proper  to  use  good  words  and  to  improve 
your  "vo-co-labilary."  (Laugh) 

Jo.  (Chuckling  over  AMY'S  two  blunders  and 
bent  on  teasing  her)  Girls,  do  you  remember  the 
night  Amy  went  to  bed,  with  a  clothes-pin  on  her 
nose  to  uplift  that  offending  feature? 

AMY.  (As  the  others  laugh,  evidently  nettled  at 
being  teased)  Well,  it  wouldn't  have  been  crooked 
if  you  hadn't  dropped  me  into  the  coal  hod  when  I 
was  a  baby.  (Slams  down  drawing  board)  I  intend 
to  take  time  by  the  fetlock  and  improve  myself.  (All 
laugh.  Rise)  And  you  may  laugh  all  you  please,  so 
there ! 

Jo.    Oh,  indeed!    (Mockingly.) 

AMY.  My  one  comfort  is  that  Mother  doesn't 
take  tucks  in  my  dresses  when  I'm  naughty. 


12  LITTLE  WOMEN 

MEG.  Tucks  in  your  dresses?  Amy,  what  do 
you  mean? 

AMY.  Maria  Park's  mother  does,  and,  my  dear, 
it's  really  dreadful,  for  sometimes  she  is  so  bad  her 

frock  is  up  to  her  knees (Pointing  to  knees) 

and  she  can't  come  to  school  at  all.  (Shout  from  all) 

Jo.    Well,  I  call  that  mean. 

AMY.  So  do  I,  and  when  I  think  of  that  "degra- 
derration,"  I  feel  that  I  can  bear  even  my  crooked 
nose  and  my  purple  gown  with  yellow  skyrockets 
on  it. 

Jo.  (Disdainfully)  You  do  fuss  so  over  clothes, 
Amy.  I  call  it  silly. 

AMY.  (Takes  up  board,  indignantly)  I  don't  in- 
tend to  let  myself  be  a  frump,  like  some  girls  I 
know.  (Meaningly  towards  Jo.) 

Jo.  Oh,  dear  me,  let's  be  elegant,  or  die  1  (Flops 
down  again  on  back — head  to  audience.  Begins  to 
whistle  "Yankee  Doodle"  softly  and  drums  on  the 
floor.) 

AMY.  (With  reproving  look  toward  ]o)  Jo  does 
use  such  slang  words.  (Jo  whistles  louder)  Don't, 
Jo,  it's  so  boyish. 

Jo.  That's  why  I  do  it.  (Sits  up.)  Thank 
Heaven,  I've  a  boy's  spirit  under  my  bib  and  tucker. 

(Ready  Clock  R. 

AMY.    I  detest  rude,  unladylike  girls. 

Jo.  I  hate  affected,  niminy-piminy  chits.  (AMY 
slams  down  board.) 

BETH.  (Sings)  "Birds  in  their  little  nests  agree." 
(ALL  laugh  and  grow  cheerful  again.) 

MEG.  (Very  dignified)  You  are  old  enough  to 
leave  off  boyish  tricks,  Josephine.  It  didn't  matter 
so  much  when  you  were  a  little  girl,  but  now  you 
are  so  tall  and  turn  up  your  hair,  you  should  remem- 
ber that  you  are  a  young  lady. 

Jo.     (Yanks  off  her  hair  net.    Pulling  down  her 


LITTLE  WOMEN  13 

hair,  which  hangs  down  her  back  in  long,  chestnut 
mane)  I'm  not,  and  if  turning  up  my  hair  makes 
me  one,  I'll  wear  it  in  two  tails  till  I'm  twenty.  I 
hate  to  think  I've  got  to  grow  up,  and  be  Miss  March, 
and  wear  long  gowns  and  be  as  prim  as  a  china-aster. 
(Sits  up  very  straight  and  prim.) 

(Ready  Door  Bell.) 

MEG.    You  needn't  be  prim — only  girlish  and 

Jo.  (Breaking  in)  Girlish !  Humph !  It's  bad 
enough  being  a  girl  anyway,  when  I  like  boys'  games 
and  work  and  manners.  (Crossing  one  leg.)  I  can't 
get  over  my  disappointment  in  not  being  a  boy,  and 
it's  worse  than  ever  now,  for  I'm  dying  to  go  to  the 
war  and  fight,  with  papa,  and  I  can  only  stay  at  home 
and  knit  like  a  pokey  old  woman.  (Imitating  AUNT 
MARCH  again.  Leans  forzvard  for  BETH'S  business.) 

BETH.  (Smoothing  Jo's  head  with  tender  hand) 
Poor  Jo,  it's  too  bad,  but  it  can't  be  helped.  So  you 
must  try  to  be  content  with  making  your  name  boy- 
ish and  playing  brother  to  us  girls. 

MEG.  As  for  you,  Amy (AMY  smiles,  ex- 
pecting praise — it  changes  to  a  martyr's  expression 
and  then  a  pout.) — you  are  altogether  too  particular 
and  prim.  Your  airs  are  funny  now,  but  if  you  don't 
take  care,  you'll  grow  up  an  affected  little  goose.  I 
like  your  nice  manners  and  refined  way  of  speaking, 
when  you  don't  try  to  be  elegant ;  but  your  absurd 
words  are  just  as  bad  as  Jo's  slang. 

(Clock  strikes  Five  Rj 

(MEG  puts  work  in  bag.  AMY  goes  to  the  window  c. 
in  a  huff  at  being  censured.  MEG  rises  from 
chair  seat.  Jo,  during  this  general  movement, 
on  her  knees  with  back  to  audience,  rolls  up 
hair — puts  on  net — makes  long  reach  for  apple 
without  getting  up — takes  manuscript  from 
chair — flops  around  into  sitting  position — back 


I4  LITTLE  WOMEN 

against  chair  and  feet  straight  out.    BETH  goes 

R.C.) 

BETH.  If  Jo  is  a  tomboy  and  Amy  a  goose,  what 
am  I,  please? 

MEG.  (R.C.  warmly)  You're  a  little  dear,  and 
nothing  else. 

(MEG  takes  ragbag  to  closet  under  stairway.  BETH 
joins  AMY  at  baywindow  c.  As  MEG  reaches 
foot  of  stairs,  doorbell  R.  rings  and  MEG  turns  in 
from  staircase  and  crosses  to  hall  door.  It's 
an  old-fashioned  bell  on  a  spring  and  rings  in 
the  kitchen  off  R.  HANNAH  enters  R.  3,  wiping 
hand  on  apron,  gets  to  center — pauses — looks, 
and  turns  and  stalks  back.) 

MEG.    I'll  go,  Hannah. 

(HANNAH  exits  R.  3.    MEG  exits  to  hall  L  i.) 

VOICE.  (Outside)  Good  evening,  Miss  Meg. 
Here's  a  note  for  you. 

MEG.  Oh,  thank  you!  (Closes  door  and  goes  to 
desk  L.  Shivers.) 

AMY.  (Half -tearfully  to  BETH,  who  has  fol- 
lowed her  to  window  and  puts  her  arm  around  her) 
Jo  does  pick  at  me  so.  She  laughs  at  my  statues 
and  makes  fun  of  my  manners. 

BETH.  Dear  old  Jo,  she  can't  understand  your 
liking  to  draw,  because  all  she  wants  to  do  is  to  read 
and  write  plays  and  stories. 

AMY.  (Still  injured)  Well,  she  needn't  think  I 
like  her  old  stories,  'cause  I  don't.  (She  snaps  this 
at  Jo,  who  pays  no  attention.  MEG  has  opened  letter, 
letter  in  hand,  vivacious  and  smiling.) 

MEG.  (Calls  excitedly)  Jo,  Jo,  where  are  you? 
'(At  desk.) 


LITTLE  WOMEN  15 

Jo.  (Mouth  full  of  apple  and  evidently  absorbed 
in  her  story)  Here. 

MEG.  (Goes  to  fire-place  and  sits  L.,  of  Jo  on  the 
rug  in  front  of  armchair  by  fire-place)  Such  fun — 
only  see!  A  regular  note  of  invitation  from  Mrs. 
Gardner.  (Waving  the  note  and  proceeding  to  read 
it.  BETH  comes  down  and  listens,  to  back  armchair 
at  fire-place.  AMY  drops  down  slowly  c.)  "Mrs. 
Gardner  would  be  happy  to  see  Miss  March  and  Miss 
Josephine  at  a  little  dance  on  Christmas  Eve."  I'm 
sure  Marmee  will  let  us  go.  Now  what  shall  we 
wear? 

Jo.  (Mouth  full  of  apple,  of  which  she  has  taken 
a  fresh  bite)  What's  the  use  of  asking  that,  when 
you  know  we  shall  wear  our  poplins,  because  we 
haven't  got  anything  else? 

MEG.    (Sighing)    If  I  only  had  a  silk ! 

Jo.  I'm  sure  our  pops  look  like  silks  and  they  are 
nice  enough  for  us.  Yours  is  as  good  as  new. 
(Turns  to  MEG.)  Oh,  I  forgot  the  burn  in  mine. 
Whatever  shall  I  do?  (AMY  has  dropped  down  c. 
Right  of  table  c.,  listening.) 

MEG.     The  burn? 

Jo.  Yes,  I  scorched  it,  standing  with  my  back  to 
the  fire.  (AMY  and  BETH  exclaim.) 

AMY.  (Turns,  moves  to  front  of  table.)  An- 
other of  your  boyish  tricks.  Jo,  you  are  certainly 
"in-corr-rig-able."  (Gathers  up  pencils,  etc.,  from 
table.  Moving  in  front  to  L.  of  table  c.) 

Jo.  (Too  exercised  about  her  frock  to  laugh  at 
AMY'S  blunder.)  That  burn  shows  dreadfully. 

BETH.  (Leaning  over  back  of  chair.  Anxiously) 
Can't  you  drop  a  little  black  velvet  bow  on  it  ? 

AMY.  (Over  her  shoulder.)  Wouldn't  that  look 
nice  ?  A  bow  in  the  middle  of  her  back !  (Goes  up 
to  L.  of  bay  window  R.c.  to  her  table.  Sits.) 

MEG.    You'll  just  have  to  stay  still  and  keep  your 


16  LITTLE  WOMEN 

back  out  of  sight.  Your  front  is  all  right.  How 
about  your  gloves  ? 

Jo.  (Indifferently)  They're  spoilt  with  lemon- 
ade, so  I  shall  have  to  go  without. 

MEG.  (Horrified)  Oh,  you  must  have  gloves,  or 
I  won't  go.  You  can't  dance  without  them,  and  if 
you  do,  I  should  be  so  mortified ! 

Jo.  Then  I'll  stay  still.  I  don't  care  much  for 
company  dancing,  anyhow.  I  like  to  fly  round  and 
cut  capers. 

MEG.    Can't  you  make  them  do  ? 

Jo.  No !  I'll  tell  you  how  we  can  manage — each 
wear  one  good  one  and  carry  a  bad  one. 

MEG.  (Reluctantly)  Your  hands  are  bigger  than 
mine,  and  you  will  stretch  my  gloves  dreadfully. 

Jo.  (Taking  up  her  Mss.)  Then  I'll  go  without. 
I  don't  care  what  people  say. 

MEG.  You  may  have  it,  you  may.  Only  don't 
stain  it,  and  do  behave  nicely.  Don't  put  your  hands 
behind  you  or  say  Christopher  Columbus,  or  call 
things  "Plummy,"  will  your 

Jo.  (Grinning.)  Don't  worry  about  me,  I'll  be 
as  prim  as  I  can  be. 

MEG.    Have  you  a  nice  pocket  handkerchief? 

Jo.    Oh,  yes,  a  plummy  one. 

MEG.    (Reproachfully)    Oh,  Jo ! 

Jo.  I  mean,  it's  spandy  nice.  You're  like  Marmee. 
I  believe  she  would  ask  if  we  had  handkerchiefs  if 
we  were  all  running  away  from  an  earthquake. 

(BETH  grins,  goes  up  and  joins  AMY  c.  in  window. 
AMY  rises  ) 

MEG.  (Rises,  gets  to  R.C.)  It's  one  of  her  aristo- 
cratic tastes  and  quite  proper.  Mind  you  keep  your 
back  out  of  sight,  Jo. 

Jo.    I  know  I  shall  forget.     If  you  see  me  doing 


LITTLE  WOMEN  17 

anything-  wrong1,  just  remind  me  by  a  wink,  will  you  ? 

MEG.     No,  winking  isn't  ladylike. 

Jo.  How  do  you  learn  to  be  so  proper?  (MEG 
goes  to  front  of  table,  stops,  looks  at  her  reproach- 
fully, Jo  opening  her  manuscript  again  and  settling 
down  to  write.)  All  right,  all  right.  Now  go  and 
answer  your  note  and  let  me  finish  The  Witch's 
Curse. 

(MEG  goes  to  desk  L.  BETH  and  AMY  wave  and 
call  "oo-hoo"  to  LAURIE  from  window  c.  MEG 
waves  from  desk — window  L.  ) 

BETH.  (R.  of  AMY  at  c.  window)  There  goes 
Laurie  on  his  new  horse.  (All  except  Jo  wave  hands 
to  LAURIE  and  call  "Laurie." )  How  well  that  boy 
rides ! 

AMY.  (Turning  to  girls.)  Laurie  is  a  perfect 
Cyclops,  isn't  he? 

(BETH   goes  to  piano,  smiling.) 

Jo.  (Looking  up  from  her  work,  indignantly) 
How  can  you  say  that,  when  he's  got  both  his 
eyes 

AMY.  (Coming  down  c.  a  little)  I  didn't  say 
anything  about  his  eyes,  and  I  don't  see  why  you 
need  fire  up  when  I  admire  his  riding. 

Jo.  (Roaring)  Oh,  my  goodness!  That  little 
2foose  means  a  centaur,  and  she  calls  him  a  Cyclops! 

AMY.  You  needn't  be  so  rude.  It's  only  a  "lapse 
of  Hngy,"  as  our  teacher  says. 

(BETH  then  starts  in  to  sing  to  stop  the  little  wrangle 
— "The  Land  of  the  Leal" — one  verse — AMY 
and  MEG  join  in  softly.  BETH  plays  a  few 
chords  after;  then  e.vits  to  dining  room  R.  This 
is  Father's  favorite  song,  and  it  saddens  them  all 


i8  LITTLE  WOMEN 

•for  a  moment.  Jo  flops  on  to  her  stomach  on  the 
floor  at  fireplace  and  writes  manuscript  furi- 
ously. AMY,  at  her  table  in  the  bay  'window, 
occupies  herself  with  a  clay  figure  she  is  'model- 
ing. MEG  goes  to  R.  of  table  c.  and  takes  up 
work  basket.  BETH  gets  bread,  toasting  fork 
and  plate  and  comes  directly  back;  sits  on  rug 
before  fire.) 

Jo.  (Rising)  Well,  I've  finished  "The  Witch's 
Curse,"  Meg.  We've  got  to  rehearse  our  parts  in 
costume  and  with  the  scenery  and  get  used  to  'em. 
(Goes  to  R.c.J  There's  lots  to  do  about  that  play 
before  Christmas  night.  (Jo  marches  up  and  down 
the  room,  R.C.,  her  hands  behind  her  back.) 

MEG.  (Who  has  resumed  her  embroidery.)  I 
don't  mean  to  act  any  more  after  this  time. 

Jo.     (Stops-R.c.)    What? 

MEG.     I'm  getting  too  old  for  such  things. 

Jo.  (Down  stage  ~R.)  You  won't  stop,  I  know,  as 
long  as  you  can  trail  around  in  a  long  gown,  with 
your  hair  down,  and  wear  gold  paper  jewelry.  Why, 
you're  the  best  actress  we've  got,  and  there'll  be  an 
end  to  everything  if  you  quit  the  boards.  (Turns 
"R.)  Well,  come  here,  Amy,  and  do  the  fainting 
scene,  for  you're  as  stiff  as  a  poker  in  that. 

AMY.  I  can't  help  it.  (Rises.  Comes  down  R.C. 
by  MEG'S  chair.)  I  never  saw  anyone  faint,  and  I 
don't  choose  to  make  myself  all  black  and  blue, 
tumbling  flat  as  you  do.  If  I  can  go  down  easily, 
I'll  drop,  if  I  can't,  I  shall  fall  into  a  chair  and  be 
graceful.  (Funny  awkward  pose.) 

Jo.  Oh !  Oh,  do  it  this  way (Throws  man- 
uscript down.)  clasp  your  hands  so,  and  stagger 
across  the  room,  crying  frantically,  "Roderigo,  save 
me,  save  me!  Save  me!"  (Jo  goes  to  L.,  throws 
herself  against  door  L.I.  Climax  last  "Save  me." 
AMY  works  down  stage  to  R.C.  Jo  does  this,  with 


LITTLE  WOMEN  19 

melodramatic  scream  and  with  much  intensity,  turns 
— nonchalantly  with  back  to  door  as  she  says) 
There  you  are — now  you  do  it. 

f AMY  follows,  poking  out  her  hands  stiffly  and  go- 
ing to  L.C.  bus. — jerking  herself  along  as  if  she 
went  by  machinery.) 

AMY.  (Perfectly  expressionless  in  face  and 
voice.)  "Roderigo,  save  me !  Save  me !  Save  me !" 

Jo.  (In  despair.)  Scream,  Amy,  scream  as  if 
you  were  calling  for  help. 

AMY.  "Ow !"  (Her  scream  is  an  "Ow"  of  dis- 
tress, far  more  than  of  melodramatic  anguish.) 

(Jo  business  of  disgust.  MEG  roars;  Jo  groans  and 
makes  despairing  gesture.  BETH,  toasting  bread 
before  the  fire,  lets  it  burn  while  she  watches  the 
fun.) 

Jo.  (Throws  up  hands  as  she  strides  up  stage.) 
It's  no  use — no  use.  Do  the  best  you  can  when  the 
time  comes,  and  if  the  audience  laughs,  don't  blame 
me.  ( AMY  goes  up  and  sits  on  lower  step  of  stairs 
in  a  huff — chin  in  hands,  elbows  on  knees.)  Come 
on,  Meg.  Do  the  incantation  scene  with  the  love 
potion ! 

MEG.  (Rummaging  in  her  work  basket,  produces 
a  small  bottle,  rising,  she  holds  the  bottle  well  for- 
ward, to  attract  attention,  and  half  chants:) 

"Hither  I  come 
From  my  airy  home 
Afar  in  the  silver  moon. 

(Holds  out  bottle.) 
Take  the  magic  spell 
And  use  it  well 
Or  its  power  will  vanish  soon." 


20  LITTLE  WOMEN 

Jo.  (As  ERNEST  the  lover,  goes  to  MEG, 
snatches  the  wooden  dagger  from  table,  and  kneel- 
ing before  MEG,  declaims)  "By  me  trusty  sword. 
(Dagger  up.)  I  stoear  that  Ernest  L'Estrange — 
shall  pay,  pay  royally,  for  this  priceless  gift,  (Dag- 
ger back.)  a  love  potion  with  which  to  win  the  lovely 
Zara."  (Takes  vial  with  deep  bow.  Bus.  of  look- 
ing at  each  other  to  see  whose  cue  it  is.  With  a  total 
change  of  voice.)  Come  on,  come  on,  Amy,  that's 
your  cue. 

AMY.  Oh,  dear,  I  never  can  remember.  (Rises 
quickly  and  comes  D.L.  AMY  recites  in  a  perfectly 
expressionless  voice.)  "  'Tis  like  a  dream,  so 
strange,  so  terrible.  (Looks  between  MEG  and  Jo. 
Jo  groans  and  handles  the  dagger  meaningly.)  He 
whom  I  thought  so  gentle  and  so  true  is  stained 
with  fearful  crimes, — poor  murdered  lady — have  I 
escaped  a  fate  like  thine?  (]o  rises,  stamps  foot 
and  goes  R.cJ  Ah,  I  hear  his  step.  Now,  heart, 
be  firm."  (Bus.  of  hand  on  heart — wrong  side — 
corrects  it.) 

Jo.  (Parenthetically)  I'm  the  villain  now,  re- 
member. (Goes  to  AMY  L.C.  a  little  up  stage.  Voice 
changes  to  melodramatic  threatening.  Jo  grasps 
AMY'S  arm,  frightening  her.)  "Proud  lady,  if  thou 
wilt  not  love,  I'll  make  thee  learn  to  fear  the  heart 
thou  hast  so  scornfully  cast  away.  Thou  shalt  rue 
the  day  when  Count  Rudolpho  asked  and  was  re- 
fused. But  I  will  win  thee  yet — and  then — Be- 
ware!" (Rolls  "R."  Turns  away,  folds  arms  and 
drops  head — tragic  pose.) 

AMY.  (Jo  snaps  fingers  under  her  folded  arms 
and  pantomimes  "Go  on."  AMY  gasps,  so  interested 
she  forgets  she's  acting,  suddenly  recovers.  Voice 
still  expressionless,  also  a  bit  uncertain  about  her 
lines.)  "Do  thy  worst,  murderer.  Spirits  will  watch 
over  me — (Hand  over  head.)  and  thou  canst  not 
harm.  Adieu  (Adoo)  my  lord"!  Adieu. 


LITTLE  WOMEN  21 

(Bows  low — backs  away  to  L.    AMY  uses  perfectly 
sweet,  pleasant  voice  in  her  acting.) 

Jo.  Don't  say  "adoo" — say  "adyeux" — let  the 
"eu"  stop  in  your  nose.  (AMY  feels  nose,  sits  L.  on 
chair  below  desk  L.)  The  next  scene  is  in  Norma's 
cave. 

MEG.  (Rises  and  goes  quickly  behind  the  wing- 
chair  R.  and  crosses  from  it,  bent  over  and  with  hands 
clasped  and  raised  like  an  old  witch.  As  NORMA — 
cracked  voice.  Jo  goes  up  stage  L.  and  takes  pose  as 
villain  and  works  up  this  scene  with  MEG.)  "Sinful 
man,  thy  hour  of  reckoning  has  come.  'Twas  /  who 
bore  thy  murdered  wife  to  a  quiet  grave  and  raised 
her  spirit  to  affright  and  haunt  thee.  I  warned  Hugo 
and  betrayed  thee  to  his  power.  Thy  victims  are 
avenged  and  Norma's  work  is  done.  Her  curse  has 
sealed  thy  doom.  Farewell !  Farewell !  (Backing 
up  to  back  of  armchair  at  fireplace.  Ending  with  a 
cackling,  sinister  laugh)  Ha!  Ha!  Ha!"  (Disap- 
pears behind  chair.) 

Jo.  (As  the  villain,  RUDOLPHO,  up  L.cJ  "Help, 
help,  the  ghosts !  They  torture  me.  The  souls  of  the 
murdered,  they  haunt  me !  See !  See !  (Stamps 
her  foot  and  points  suddenly  L.,  and  AMY  jumps  and 
swings  her  feet  to  L.)  The  demons  gather  about. 
How  fast  they  come,  how  fast !  Old  Norma  is  mut- 
tering her  spells.  Let  me  go !  Let  me  go !  (Comes 
down  stage  L.C.  in  a  desperate  melodramatic  struggle 
with  herself.)  Hugo !  Norma !  Zara !  Pity,  pity ! 
Let  not  Ernest  L'Estrange  reach  me ! — Ah !" 

(As  if  stabbed — does  funny  flop — in  a  heap.  MEG 
comes  down  R.C.  Jo  sits  up,  rubbing  her  elbows, 
enjoying  the  sensation  she  has  caused.  GIRLS 
much  impressed,  not  sure  Jo  hasn't  killed  her- 
self.) 


22  LITTLE  WOMEN 

MEG.  (Coming  down  to  R.  of  table  c.)  It's  the 
best  we've  had  yet.  (Sits  R.  of  table  c.) 

BETH.  (In  awe.)  I  don't  see  how  you  can  act 
and  write  such  splendid  things,  Jo.  You're  a  regu- 
lar Shakespeare.  ("BETH  has  taken  bread  from 
toasting  fork  and  unconsciously  slips  fork  into  a 
slipper  which  she  holds  out  toward  the  fire.) 

Jo.  (Modestly,  gets  to  L.  of  table.)  Not  quite! 
(Rubbing  her  elbow.)  But  I  think  it  would  be 
great  for  Meg  and  me  to  go  on  the  stage.  We  could 
make  lots  of  money,  perhaps,  and  it's  a  very  gay 
life.  I  shall  write  tragic  plays  and  be  a  second  Sid- 
dons.  I'd  love  to  do  Macbeth,  if  we  only  had  a  trap 
door  for  Banquo.  I've  always  wanted  to  do  the 
killing  part.  (Makes  sudden  turn  R.  and  stamp  of 
foot  which  makes  MEG,  who  is  sitting  R.  of  table, 
jump.  Mutters — in  stage  whisper:)  "Is  this  a  dag- 
ger that  I  see  before  me  ?" 

(MEG  shrinks  with  fear  at  the  reality  of  Jo's  acting 
— funny  turn  in  chair.  Jo  imitates  traditional 
bus.  going  front  of  table.  MEG  catches  sight  of 
slipper.) 

MEG.  (Acting  first  part  of  line.)  No,  it's  the 
toasting  fork.  (Laughing.)  With  mother's  old  shoe 
on  it.  Beth's  stage-struck. 

(General  scream  of  laughter  from  all.  Sound  of 
the  street  door.  Enter  MRS.  MARCH  isf.  Comes 
to  L.cJ 

f   MRS.  MARCH.     Glad  to  find  you  so  merry,  my 
girls.    (At  door  L.J 
ALL.     Marmee ! 

("MRS.  MARCH  goes  to  c.,  surrounded  by  girls.  AMY 
L.  of  MARMEE,  takes  handbag  and  goes  L.  and 


LITTLE  WOMEN  23 

puts  it  in  closet.  MEG,  at  her  RV  takes  shawl 
and  bonnet  and  goes  R.  and  back  of  table  c.  to 
closet  L.U.  After  greeting  c.  Jo  goes  to  fireplace 
and  pokes  fire,  BETH  puts  toast  down  and  takes 
off  MARMEE'S  arctics — which  MEG  comes,  gets 
and  takes  into  dining  room  and  flies  back  to 
MARMEE,  who  has  kept  on  crossing  to  fireplace 
where  she  sits  in  armchair.) 

MRS.  MARCH.    Well,  dearies,  how  have  you  got  on    ,/ 
to-day  ? 

Jo.  (On  BETH'S  little  seat  below  fireplace.)  Oh, 
we've  had  a  "plummy"  day. 

MRS.  MARCH.  There  was  so  much  to  do.  getting 
the  boxes  for  the  soldiers  ready,  that  I  didn't  come 
home  to  dinner. 

BETH.     We  missed  you,  Marmee. 

MRS.  MARCH.    (In  chair  at  fireplace.)    Has  any-,, -• 
one  called,  Beth  ?    How  is  your  cold,  Meg? 

MEG.     It's  better,  Marmee. 

MRS.    MARCH.     Jo,    you    look    tired    to    death,  s 
Come  and  kiss  me,  baby.     (Sits  in  armchair.    BETH^ 
places  slippers.    AMY  at  arm  of  chair  R.  kisses  her. 
MEG  takes  slippers,  kneeling  L.   of  MRS.  MARCH. 
BETH  and  MEG  put  on  mother's  slippers,  putting  her 
shoes  by  the  fire — and  a  small  foot-stool  under  her 
feet.    AMY  at  back  of  chair  R.  of  mother,  putting 
things  to  rights.    General  bustle  of  welcome  for  the 
queen  of  the  household.)    Girls,  I  heard  from  Father  / 
to-day. 

(Position:  Jo  on  BETH'S  stool  at  lower  side  of  fire- 
place. AMY  standing  at  R.  of  armchair  back. 
BETH  w  front  of  armchair  to  the  R.  on  the 
floor.  MEG  at  L.  of  armchair  to  the  L.  on  the 
floor.) 

Jo.  (Rapturously)  A  letter!  Alerter!  Three 
cheers  for  Father. 


24  LITTLE  WOMEN 

/MRS.  MARCH.  No,  not  a  letter,  dear,  but  a  mes- 
sage from  one  of  our  soldiers  who  has  been  sent 
home  on  sick  leave.  Father  is  well  and  thinks  he 
shall  get  through  the  cold  season  better  than  he 
feared.  He  sends  all  sorts  of  loving  messages  to  his 
Little  Women. 

AMY.  It  must  be  very  disagreeable  to  sleep  in  a 
tent,  and  eat  all  sorts  of  bad-tasting  things,  and  drink 
out  of  a  canteen. 

(Quiet  snicker  from  Jo  at  AMY'S  blunder,  and  even 
MRS.  MARCH  hides  a  smile.  BETH  comes 
quickly  to  the  rescue,  by  breaking  in.) 

BETH.     When  will  he  come  home,  Marmee? 
i     MRS.  MARCH.     Not  for  many  months,  dear,  un- 
f  less  he  is  sick.    He  will  stay  and  do  his  work  faith- 
fully, as  long  as  he  can,  and  we  won't  ask  for  him 
back  a  moment  sooner  than  he  can  be  spared. 

(Enter  HANNAH  R.  3 — dining  room.) 

HANNAH.  (L.  of  armchair  at  fireplace)  Miss' 
March,  will  you  have  your  tea  now? 

MRS.  MARCH.     If  you  please,  Hannah.    (Ring  at 
'     door.    MEG  rises  and  starts.) 

(Bell  R.  NOTE:  Old-fashioned  doorbell  rings  in 
dining  room  R-3  when  pulled  L.ist.) 

HANNAH.  (Going  to  hall  door  L.I.,)  I'll  go, 
mum. 

(Exits  to  hall.) 

BROOKE.     (Outside.)     Well,  Hannah! 
HANNAH.     (Outside.)     Oh,  Mr.  Brooke.     (Re- 
turning, announcing)     Mister  Brooke,  mum. 

/   (MRS.  MARCH  rises  and  goes  to  R.C.    Jo  rises  quickly 
and  joins  MEG.    Enter  MR.  BROOKE,  holds  hat. 


LITTLE  WOMEN  25 

HANNAH  goes  -from  room  and  exits  to  dining 
room.  Position:  MRS.  MARCH  c.  JOHN  L.C. 
MEG,  Jo,  BETH  and  AMY  in  line  up  R.C.  AMY 
extreme  Rj 

MRS.  MARCH.     (Holding  out  her  hand.)     Good       / 
afternoon,  Mr.  Brooke. 

(As  they  line  up,  MEG  primps  a  little.     Jo  glares 
at  her.) 

BROOKE.  Good  afternoon,  Mrs.  March.  Good 
afternoon — (To  GIRLS.  BROOKE  shakes  hands  with 
MRS.  MARCH  c.  MEG  greets  BROOKE  with  shy  man- 
ner. Jo  greets  BROOKE  with  boyish  nod.  AMY 
greets  BROOKE  with  affected  little  bow.  BETH  greets 
BROOKE  with  little,  old-fashioned  curtsey.  BROOKE 
is  particularly  impressive  in  his  manner  to  MEG^ 
who  acts  a  little  conscious.  Jo  a  bit  stand-offish,  the 
little  girls  shy  and  interested.)  I  come  as  an  emis- 
sary both  of  peace  and  of  war.  Laurie  begs  permis- 
sion to  attend  the  dress  rehearsal,  and  I  have  come 
for  those  hospital  supplies.  They  must  go  out  to- 
night. 

MRS.  MARCH.     Certainly,  I'll  get  them  directly.     J 
Girls,  why  not  let  Mr.  Brooke  and  the  Laurences    ' 
come  to  your  rehearsal  ? 

MEG.  (Comes  forward  a  little.)  Mercy,  no, 
Mother,  men  are  positively  excluded.  Laurie 
sneaked  in  our  Pickwick  Club,  but  even  he  can't 
wheedle  me  into  allowing  men  at  our  rehearsal. 

Jo.  Well,  I'm  sure  Teddy  won  his  Pickwick  hon- 
ors, sitting  on  a  ragbag  in  a  stuffy  closet  for  an  hour, 
while  you  and  Amy  wrangled  about  admitting  him. 

AMY.  (As  BROOKE  listens,  visibly  amused.)  We 
don't  want  men  at  our  little  performances.  They're 
sure  to  laugh — and  I  never  can  bear  to  be  laughed 
at. 


26  LITTLE  WOMEN 

BROOKE.     (Trying  to  keep  his  face  sober.)    Not 
a  laugh,  I  swear  it.     Miss  Meg,  won't  you  relent? 

MEG.     No,  indeed,  if  men  are  admitted,  I  sha'n't 
play. 

Jo.    What  do  you  say,  Beth  ?    Remember,  it's  our 
Laurie. 

BETH.     (With  most  unwonted   enthusiasm.)     I 
say  he  shall  come,  and  his  grandpa,  too,  if  he  likes. 

Jo.     (Slapping  leg.)    Bully  for  you,  Beth ! 
^     MRS.  MARCH  and  MEG.    Jo!    (MEG  gives  Jo  re- 
7    proving  look.) 

Jo.     (Turn  to  MEG.J     Meg,  be  a  good  sort  and 
give  in. 

(READY  BELL. 

MEG.     (Wavering)    I'll  think  about  it. 

/o.     (Goes  to  back,  upsets  chair  at  back  of  table 
Well,  hurry  up.    I  must  set  the  stage  and  get 
into  my  costume. 

(Exit  Jo  upstairs  with  a  rush.) 

y     MRS.  MARCH.     (Goes  to  library  door  R.iJ    Beth, 
*  Amy,  help  me  collect  the  hospital  things,  please,  and 
Meg,  entertain  Mr.  Brooke  while  we  are  gone. 

(Exit  MRS.  MARCH,  BETH  and  AMY  into  Study. 
MEG  gives  a  little  start  after  mother  and  sis- 
ters as  if  to  say:  "Don't  leave  me  alone  witH 
MR.  BROOKE."  Then  turns  and  gives  an  em- 
barrassed little  laugh  as  her  eyes  meet  BROOKE'S. 
BROOKE  up  stage  L.  replaces  chair  back  of  table, 
comes  down  to  MEG,  R.C.,  and  takes  folded 
manuscript  paper  from  pocket  and  hands  it  to 
MEG.J 

BROOKE.     Here's    the    translation    of    the    little 
French  song  Laurie  promised  you,  Miss  March. 
MEG.     (Looking  it  over.)     How  very  sweet,  but 


LITTLE  WOMEN  27 

this  isn't  Laurie's  writing.    Did  you  make  the  trans- 
lation for  me,  Mr.  Brooke? 

BROOKE.  The  song  has  always  been  a  favorite  of 
mine — and 

(His  sentence  is  interrupted  by  the  furious  ringing 
of  the  doorbell  and  rat  tat  tat  on  the  brass 
knocker.) 

(BELL  R.  VERY  LOUD. 

LAURIE.  (Outside.)  What  ho — within  there — 
What  ho! 

BROOKE.     My  soul! 
MEG.     Gracious  me,  what  is  that? 

(Enter  HANNAH,  rushing  through  room  to  answer 
door.) 

HANNAH.  The  saints  preserve  us !  Is  the  house 
on  fire? 

(Exits  to  hall.  AMY  and  BETH  enter  from  study. 
MRS.  MARCH  following  more  leisurely,  her  arms 
filled  with  the  supplies.) 

gether.)    What's  the  matter,  Hannah?    What  is  it?  / 
LAURIE.     (In  hall.)     Hello,  Hannah! 
HANNAH.     Oh,  it's  Mr.  Laurie. 

(Enter  LAURIE,  flushed  and  breathless,  his  arms  filled 
with  flozvers,  an  unframed  picture  under  his 
arm,  cap  in  hand.) 

LAURIE.  Good  afternoon,  everybody !  ('HAN- 
NAH re-enters  room  and  goes  to  dining  room,  where 
she  exits.  Beaming  on  the  boy.  MRS.  MARCH  goes 
to  R.  of  table.  Laughing.  Puts  bundle  on  table. 


28  LITTLE  WOMEN 

LAURIE  presenting  flowers  to  MRS.  MARCH.J     For 
you,  Madam  Mother,  with  grandpa's  compliments. 
,,         MRS.  MARCH.     Oh,  thank  you,  Laurie.     (Sits  L. 
I     of  c.  table.) 

LAURIE.     (Throws  cap  in  chair  L..)    Well,  I've 
come  for  the  rehearsal.    How  about  it  ? 
MEG.     (R.C.;    We'll  see. 

('BETH  takes  vase  from  mantel,  goes  into  din- 
ing room,  returning  quickly  to  back  of  table  c. 
AMY  joins  her  mother — L.  of  table  c.) 

Jo.  (Calling  from  above.)  Hurry  up,  Meg,  time 
for  you  and  Amy. 

MEG.  Yes,  Jo,  I'm  coming.  (Smiles  shyly  at 
BROOKE,  who  is  n..) 

(Goes  back  and  upstairs.  MRS.  MARCH  has  put  the 
flowers  in  the  vase.  Now  rises  and  crosses  to 
fireplace.  BROOKE  takes  them  from  her  and 
places  on  mantel.  BETH  goes  up  c.) 

LAURIE.  (L.C.  Handing  AMY  the  picture.) 
Here's  the  Madonna  you  wanted  to  copy,  little  Ra- 
phael. 

AMY.  fL.c.  Sincerely,  goes  to  him,  taking  it  eag- 
erly.) Thank  you  so  much,  Laurie.  I've  tried  to 
draw  it  from  memory,  but  the  woman's  face  is  not 
good.  It's  too  beautiful  for  me  to  draw;  but  the 
baby  was  better,  and  I  love  it  so  much.  I  love  to 
think  He  was  a  little  child  once,  for  then  I  don't 
seem  so  far  away,  and  that  helps  me. 

(This  speech  should  be  spoken  so  directly  to  LAURIE 
that  the  others  do  not  hear.  LAURIE'S  reply  in 
the  same  way.) 

LAURIE.     (Gently,  her  mood  evidently  chiming  in 


LITTLE  WOMEN  29 

with  certain  longings  of  his  own.)    Try  again,  dear. 
Even  Raphael  didn't  succeed  with  his  first  Madonna. 
Jo.     (Calling  from  above)     Come  on  up,  Amy, 
time  for  you. 

(CRASPI  READY  LEFT  UPSTAIRS.) 

AMY.  (Starts  to  run,  then  -walks  up  very  lady- 
like.) All  right. 

(AMY  exits  with  picture  upstairs.) 

LAURIE.  (Calling  from  the  foot  of  stairs.)  Jo, 
Jo,  come  down  quick.  I've  something  to  tell  you. 

Jo.  (Still  from  above.)  Go  away,  Teddy,  I'm 
busy ! 

BETH.  (Joining  LAURIE,  and  both  going  to  bay 
window.  To  LAURIE,)  Jo's  busy  setting  the  stage, 
Laurie.  See  the  Christmas  roses  ?  (Turning  to  the 
window.)  How  beautiful  they  are!  You  didn't 
think  they  would  bloom. 

(BETH  picks  a  rosebud  and  fastens  it  in  his  but- 
tonhole.) 

BROOKE.  (R.C.  To  MRS  MARCH,  who  goes  to 
front  of  c.  table.  Glancing  upstairs.)  Doesn't  look 
very  hopeful  about  the  rehearsal,  Mrs.  March. 

MRS.  MARCH.  (Smiling.)  I  wish  you  might  see 
the  fun,  but  Meg  is  getting  a  little  conscious  over 
their  stage  frolics  and  I'm  afraid  Jo  can't  tease  her 
into  admitting  you. 

(BROOKE  goes  R.  A  long,  wailing  scream  from  AMY. 
Crash  upstairs — AMY  and  Jo's  voices.  AMY 
cries.  Jo  scolds.  MEG  laughs.) 

LAURIE.     Jupiter  Ammon !     (As   MRS.    MARCH 


30  LITTLE  WOMEN 

starts  toward  stairs,  old  HANNAH,  evidently  fright- 
ened at  the  noise,  appears  in  the  doorway  R.  3.  She 
is  floury  and  her  hands  are  rolled  in  her  apron.) 
All  serene  here,  Hannah.  Racket  was  upstairs. 
HANNAH.  It's  them  girls,  rehearsing  again,  and 
the  Missus  never  says  a  word. 

('HANNAH  throws  up  hands,  exits  grumbling.  BETH 
comes  to  c.  back  of  table.  LAURIE  goes  down 
R.C.  to  BROOKE.  MRS.  MARCH  L.  MEG  has 
started  to  come  down.  She  is  laughing  and 
carries  her  witch's  cloak  and  beard  as  she  runs 
down.) 

/  MRS.  MARCH.     (L.)    Anyone  hurt,  Meg? 

MEG.  (Coming  downstairs  and  to  L.J  Oh,  no. 
The  pasteboard  tower  fell  just  as  Ernest  was  try- 
ing to  carry  off  Zara.  They  all  came  down  to- 
gether. ("ALL  roar.) 

LAURIE.    Was  Jo  furious? 

MEG.  (Down  Lj  I  didn't  wait  to  find  out.  All 
I  could  see  was  Amy's  head  and  Jo's  russet  boots. 

MRS.  MARCH  L.  with  MEG.  MEG  puts  cloak,  hat, 
beard  on  chair  at  desk  L.  Jo  stamps  down  the 
stairs,  scolding  under  breath  at  AMY'S  stupid- 
ity— Rodcrigo  costume.  Black  satin  breeches 
and  jerkin;  flowing  cape,  chapeau  and  russet- 
top  boots,  which  keep  falling  down,  at  sight  of 
which  BROOKE  and  LAURIE  roar.  MEG  goes  L. 
near  desk.) 

Jo.  (L.C.  Pulling  cloak  around  her.)  Be  quiet, 
you  bad  boy.  I  thought  you  had  gone  home. 

LAURIE,  (c.)  Where  on  earth  did  you  get  the 
boots  ? 

Jo.  (c.  Putting  bootleg  up  and  holding  out  one 
leg  for  them  to  see.  Looking  down  at  them 


LITTLE  WOMEN  31 

proudly.)  Aren't  they  great?  I  got  'em  from  a 
friend  who  knows  a  lady  who  knows  an  actor. 

BROOKE.     They're  certainly  fetching. 

MEG.  (L.  Annoyed  at  Jo's  appearance.)  Oh, 
go  and  dress,  Jo.  (Jo  makes  funny  turn  and  hat 
falls  off)  You're  ridiculous  in  that  costume. 

Jo.  All  right,  don't  bother,  I  will.  Wait,  Teddy, 
I'll  be  back  in  a  jiffy. 

LAURIE.     All  right,  Jo. 

(Back  of  table  c.  Exit  Jo,  falling  upstairs  over  her 
boots  and  stepping  into  her  cloak — on  second 
part  of  stairs.) 

BROOKE.     Then  there  will  be  no  rehearsal  ? 

MEG.  Not  before  to-morrow.  It  will  take  time 
to  repair  the  ravages  to  Zara's  tower. 

BROOKE.  (Taking  package  of  supplies  from  table 
c.  under  his  arm,  coming  c.)  I  must  hurry  along. 
I'll  stop  at  your  grandfather's  on  my  way  back, 
Laurie,  and  leave  that  Latin  book  for  you. 

LAURIE.  All  right,  Professor.  (At  foot  of 
stairs.) 

BROOKE.     Good-by,  Mrs.  March. 

(BROOKE  shakes  hands  with  MRS.  MARCH  L.C. 
Starts  to  shake  hands  with  MEG,  who  is  L.  Sht 
moves  to  L.  of  table  c,  hesitates,  as  he  sees  MEG'S 
shy  embarrassment,  then  goes  L.,  gets  his  hat 
from  chair  below  desk,  opens  door  L.I.  and  turns 
and  says  good-by  to  MEG,  in  confidential  under- 
standing manner.  Exits;  LAURIE  gets  this  busi- 
ness and  smiles.  MEG  goes  up  to  L.  window  to 
look  out  after  BROOKE.  After  BROOKE'S  exit, 
MRS.  MARCH  sits  L.  of  table  c.) 

(VOICE  READY  L. 


32  LITTLE  WOMEN 

LAURIE.  Won't  some  of  you  come  for  a  drive? 
Brooke  has  been  making  me  study  hard  all  day. 
Beth,  run  up  and  ask  Jo  and  Amy  to  get  ready,  and 
you  come  along,  too. 

BETH.  Thank  you,  Laurie,  we'd  love  to  go.  I'll 
tell  Jo  and  Amy. 

(Exit  BETH  upstairs.) 

LAURIE.     How  about  you,  Meg? 

MEG.  Much  obliged,  but  I'm  busy.  (Goes  to  R. 
of  table  c.  and  takes  up  sewing.) 

LAURIE.  (Leaning  affectionately  over  the  back 
of  MRS.  MARCH'S  chair  L.  of  table  c.)  Anything  I 
can  do  for  you,  Madam  Mother? 

(BELL  Rj 

/MRS.  MARCH.  (Bell  rings — HANNAH  goes  to 
hall.)  No,  thank  you.  (Pause.)  Except  call  at  the 
office,  if  you'll  be  passing,  dear.  It's  our  day  for  a 
letter,  and  Father  is  as  regular  as  the  sun. 

(VOICE  L.I.E.  &  TELEGRAM.) 

VOICE.  (Outside  L.I.)  Telegram  for  Mrs.  March. 
Sign  here. 

f  HANNAH  re-enters  with  telegram,  which  she  hands 
to  MRS.  MARCH,  as  if  she  feared  it  would  ex- 
plode.) 

HANNAH,     (t,.)     It's  one  of  them  horrid  tele- 
graph things,  ma'am.     fMRS.  MARCH  rises,  fright- 
^  ened — hesitates — then  smiles  and  takes  it,  opens  and 

reads  it,  L.C. — almost  faints) 
/-  MRS.  MARCH.     Girls!     Girls!     Your  Father 

^LAURIE  places  chair  for  her.  MEG  goes  to  mother, 
places  her  in  chair  L.  of  table  c. — MEG  R.  of  her 


LITTLE  WOMEN  33 

— paper  falling  to  the  floor.    HANNAH  supports 
her.    LAURIE  rushes  to  dining  room  for  water.) 

MEG.  (Dropping  on  knees  beside  her.)  Marmee, 
what  is  it?  (MEG  calls  out)  Girls,  girls,  come 
quick ! 

(LAURIE  returns  to  back  of  table  "with  the  water, 
which  MEG  gives  to  her  mother.  Three  girls 
come  rushing  do^vn  the  stairs.  Jo  last.  She  is 
in  her  dress.) 

BETH.  Marmee ! 
AMY.  Marmee ! 
MEG.  It's  that  telegram. 

(Jo  picks  up  telegram  and  reads  it  in  frightened 
voice.) 

Jo.     (L.C.,)    "Your  husband  is  very  ill." 
ALL.     Marmee ! 

Jo.  "Come  at  once.  S.  Hale.  Blank  Hospital. 
Washington."  (Goes  to  her  mother  L.) 

(LAURIE  withdraws  to  bay  window.) 

MRS.  MARCH.     (Stretching  out  her  arms  to  het    r 
girls.)    I  must  go,  I  must  go  at  once !    It  may  be  too  r 
late 

ALL.     Marmee.    (  GIRLS  sob.) 

MRS.  MARCH.     Oh,  children,  children,  help  me  to  / 
bear  it! 

(GiRLS  cluster  around  her  sobbing,  "Marmee, 
Father."  HANNAH  at  right,  back  of  table,  Jo  L. 
and  AMY  at  R.  of  chair.  MEG  kneeling  on  floor 
to  R.  of  MARMEE.  BETH  kneeling  on  floor  to 
L.  of  MARMEE.J 

HANNAH.     (Half  sobbing.)    The  Lord  help  the 


34  LITTLE  WOMEN 

dear  man.    I  won't  waste  no  time  a  cryin',  but  get 
your  things  ready  right  away,  mum! 

(Exit  HANNAH  upstairs.) 

/       MRS.  MARCH.     (Pulling  herself  together.)     She 
is  right ;  there's  no  time  for  tears  now. 

ALL.     Marmee ! 

•.     MRS.  MARCH.    Be  calm,  girls,  and  let  Mother 
/  think.     ("BETH  and  AMY  drop  upstage  to  foot  of 
stairs.    Jo  L.,  MEG  in  front  of  table  c.)    Jo,  give  me 
a  pencil  and  paper.    Where's  Laurie? 

(Jo  get s  a  pencil  and  paper  from  desk  L.    MEG  turns 
R.  for  LAURIE.^ 

LAURIE.  (Down  R.  of  table  to  c.,  coming  to  her 
quickly  from  window  where  he  has  been  standing 
with  his  back  turned.)  Here,  ma'am,  oh,  let  me  do 
something ! 

/MRS.  MARCH.  Send  a  telegram  saying  I'll  come 
at  once.  The  next  train  leaves  at  six  o'clock.  I  think. 
I'll  take  that  one.  (She  scribbles  a  note  hastily,  Jo 
looking  over  her  shoulder.) 

LAURIE.  What  else  ?  The  horses  are  ready,  I  can 
go  anywhere,  do  anything. 

MRS.  MARCH.     (Handing  him  the  note  she  has 
f   just  folded.)     Leave  this  note  at  Aunt  March's. 
Now  go,  dear  ('LAURIE  goes  L.J,  and  don't  kill  your- 
self driving  at  a  desperate  pace. 

(Exit  LAURIE,  front  door  L.I.) 

Jo.  CL.C.J  Mother,  you  ask  that  old  dragon  for 
money  ? 

f       MRS.  MARCH.    Jo,  I  had  to.    I  haven't  five  dol- 
/     lars  in  my  purse. 


LITTLE  WOMEN  35 

Jo.  Her  rheumatism's  been  bad  to-day,  and  she's 
sure  to  refuse.  (Goes  to  L,.) 

MRS.  MARCH.     (Quietly)    Father  needs  me,  and     f 
some  way  will  be  provided.    (Starts  to  make  mem-    / 
orandum.)     I  cannot  think  that  Aunt  March  will 
refuse  at  a  time  like  this. 

Jo.  Well,  you've  got  more  faith  in  her  than  I 
have.  She  always  croaks  if  you  ask  her  for  a  nine- 
pence.  (Stops  and  ponders,  at  desk  LV  puts  hands 
on  her  head,  shuts  her  lips  firmly  at  last,  as  if  de- 
'cided  upon  her  course,  obviously  fishing  for  an  ex- 
cuse. Coming  down.)  Hadn't  I  better  go  over  to 
the  hospital  rooms,  Marmee,  and  tell  them  you'll  not 
be  there  to-morrow  ? 

MRS.  MARCH.  (Writing  on  slip  of  paper.)  Yes,  / 
'dear.  (Jo  goes  to  closet  and  gets  cloak,  bonnet  and 
mittens.)  If  you  will,  I  had  quite  forgotten — and, 
Jo.  on  your  way  please  stop  at  the  drug  store  and  get 
these  things.  (Handing  her  the  paper.  Exit  Jo  hall 
door  L.I .)  Amy,  tell  Hannah  to  get  down  the  leather 
trunk.  (Exit  AMY,  upstairs.)  Beth,  run  over  and 
ask  Mr.  Laurence  for  a  couple  of  bottles  of  old  wine ; 
I'm  not  too  proud  to  beg  for  Father.  (Grabbing 
shawl  and  hood  from  closet,  exit  BETH  front  door 
L.I.  MRS.  MARCH  rises  and  starts  up.  MEG  goes 
up  R.  of  table  to  back.)  And  Meg,  come  and  help 
me  find  my  things,  for  I'm  half  bewildered. 

(As  MRS.  MARCH  gets  to  foot  of  stairs,  she  stag-  / 
gers.     MEG  catches  her  with  frightened  cry 
of:) 

MEG.  Marmee!  Now,  Marmee,  you  come  right 
over  here  and  sit  by  the  fire.  (Leads  her  over  to 
armchair  at  fireplace.)  And  let  me  find  your  things. 
You  will  need  all  the  rest  you  can  get.  (Gets  her  in 
chair.)  Hannah  will  'help  me  pack  and  I'll  bring 
you  some  tea. 


36  LITTLE  WOMEN 

(Exit  MEG  to  dining  room.  HANNAH  and  AMY 
come  down  the  stairs,  bumping  the  trunk.  HAN- 
NAH, grumbling  and  protesting,  is  bearing  the 
lower,  heavier  weight  of  the  trunk.  AMY,  ex- 
postulating, is  evidently  giving  little  help  in  car- 
rying, as  she  has  hold  of  the  handle  in  relaxed 
fashion.  HANNAH  jerks  trunk  as  she  reaches 
foot  of  stairs,  AMY  stumbles  down  last  three 
steps.) 

HANNAH.  (Coming  downstairs.)  This  is  a  lot 
of  nonsense! 

AMY.     Mother  said  to  bring  the  trunk  down  here. 

HANNAH.     (Still  grumbling)  Sakes  alive !  Guess 

I  packed  trunks  before  you  were  born.    Where  will 

you  have  this,  mum?    (Reaching  R.C.     Turning  to 

MRS.  MARCH  and  indicating  trunk)    Here ? 

MRS.  MARCH.    Oh,  no,  in  the  dining  room,  please. 

(HANNAH  jerks  trunk,  nearly  taking  AMY  off  her 
feet.) 

AMY.    Hannah,  you're  always  so  precipitious. 

(Exit  HANNAH  and  AMY  dining  room  R.  3.  BETH 
enters  L.I.,  holding  door  open  for  MR.  LAU- 
RENCE, who  enters  directly  after  her.  MR. 
LAURENCE  is  loaded  down,  two  bottles,  cob- 
webby, of  old  wine,  a  muffler,  the  old-time 
woolen  square,  a  man's  shawl,  'such  as  Lincoln 
wore;  a  gay  dressing  gown  and  a  pair  of  gay 
knitted  slippers.) 

MR.  LAURENCE.  (Gives  BETH  his  hat.  BETH 
puts  it  on  chair  L,.,  takes  off  her  shawl  and  hood  and 
places  same  on  seat  under  stairway,  and  goes  at  back 
to  mother's  R.  as  MRS.  MARCH  rises  to  meet  him. 
MR.  LAURENCE  trying  to  shake  hands,  but  finding  it 
impossible,  as  in  addition  to  his  gifts  he  has  his  gold- 


LITTLE  WOMEN  37 

headed  walking  stick  under  his  arm.)  My  dear 
madam  (Coming  to  c.),  I  am  deeply  grieved  at  this 
sad  news ;  but  we  will  hope  for  the  best. 

MRS.  MARCH.     It  is  all  we  can  do,  sir.  ^—*: 

MR.  LAURENCE.  (Handing  her  the  wine.)  This 
is  the  wine  you  did  me  the  honor  to  ask  for,  madam. 
(Reaching  back  into  his  hip  pocket,  he  produces  a 
small  flask,  which  he  holds  up  to  the  light,  after  the 
manner  of  a  connoisseur.)  Here  is  some  old  peach 
brandy,  which  may  prove  useful !  (Hands  her  the 
flask.) 

MRS.  MARCH.  Oh,  thank  you,  Mr.  Laurence, 
You  are  so  kind. 

MR.  LAURENCE.  Don't  mention  it,  I  beg  of  you. 
Hospital  wards  are  often  cold  and  cheerless,  so  I 
have  ventured  to  offer  my  dressing  gown — (Hand- 
ing her  the  gown) — and  this  heavy  shawl.  (Hand- 
ing her  the  shawl.)  This  muffler — (Gives  her  the 
muffler) — and  these  warm  slippers — (Handing  her 
the  slippers,  which  he  dangles  in  mid-air  as  she  takes 
them.)— not  beautiful,  madam,  but  most  comfort- 
able, I  assure  you. 

('MRS.  MARCH  is  tearful  and  yet  almost  laughing, 
at  the  way  he  has  loaded  her  down.  She  needs 
her  handkerchief,  but  her  hands  are  full.  BETH 
steps  quietly  over  to  her  mother  and  dries  MRS. 
MARCH'S  eyes  with  her  own  handkerchief,  MR. 
LAURENCE  turns  L.  a  little.) 

MRS.  MARCH.  Mr.  Laurence,  you  are  so  thoughts" 
ful,  so  kind.  I  don't  know  how  to  thank  you. 

{'MR.  LAURENCE  is  evidently  much  moved.  He 
reaches  back  to  his  coat-tail  pocket,  and  pro- 
duces a  large  white  handkerchief,  faultlessly 
folded,  which  he  proceeds  to  shake  out;  bus. 
and  blows  his  nose  violently.) 


38  LITTLE  WOMEN 

MR.  LAURENCE.  Don't  try  to,  ma'am,  don't  try. 
(Turns  to  her.)  It  will  be  a  long,  hard  journey  for 
a  woman  alone.  May  I  offer  myself  as  an  escort? 

MRS.  MARCH.  Mr.  Laurence,  I  couldn't  think  of 
j  letting  you  take  that  long  journey.  If  you  will  only 
*  look  after  my  girls  when  I  am  gone 

MR.  LAURENCE.  As  if  they  were  my  own,  ma'am. 
I  promise  you.  (Slight  pause,  and  his  next  words 
are  fraught  with  meaning.  Puts  his  hand  into  his 
breast  pocket.)  Is  there  anything  else  I  can  do? 
Are  you  supplied  with  all  the  necessities  ? 

MRS.  MARCH.     (Hesitating,  as  she  gets  his  mean- 

/ing  that  he  will  provide  funds,  if  needed,  evidently 
holding  to  her  faith  that  Aunt  March  will  come  to 
the  rescue.)  Yes,  thank  you.  I  am  sure  all  my 
wants  will  be  met. 

MR.  LAURENCE.  Don't  hesitate  to  call  upon  me  in 
any  emergency.  (He  gets  an  idea,  rubs  his  hands 
and  goes  to  door  L.I.,)  I  will  be  back  directly. 
(Takes  hat,  opens  door,  throws  end  of  muffler  over 
shoulder,  exits  L.I.)  Brrr 

/( MRS.  MARCH  stands  with  her  arms  filled  with  his 
gifts,  looks  down  at  the  slippers  and  smiles 
sadly.) 

MRS.  MARCH.     (Speaking  softly  to  herself.)    Oh, 
/    the  kind,  generous  gentleman !    (Turns  to  BETH  and 

/    lays  the  things  across  her  arms.)     Meg — ah 

(So  confused  she  calls  "BETH,  MEG";    Beth,  take 
these  to  Meg,  please,  and  tell  her  to  pack  them  all 
carefully.    (Emphasise  the  last  word  to  express  her 
tender  appreciation.) 
BETH.    Yes,  Marmee !    I  will. 

/BETH  exits,  leaving  door  open  into  dining  room. 
MRS.  MARCH  returns  to  her  chair  by  the  fire 
while  this  dialogue  is  heard  off  stage,  takes  off 


LITTLE  WOMEN  39 

slippers — pulls  on  shoes,  turns  chair  in  toward 
fireplace  and  closes  her  eyes  and  rests.) 

HANNAH.  (Off.)  Miss  Beth,  your  Ma  won't 
need  those  things  no  more'n  a  cat.  What  would 
she  do  with  them  in  a  hospital,  child  ? 

BETH.    Mr.  Laurence  brought  them  for  Father. 

(READY  SLEIGH  BELLS,  L.J 

MEG.  Please  put  them  in  the  tray,  Hannah,  and 
Beth,  go  find  mother's  big  shawl.  She'll  need  that 
for  traveling.  Tell  Amy  to  get  together  her  bonnet, 
gloves  and  things,  while  I  take  in  her  tea. 

HANNAH.  My  bread  is  riz,  but  I'll  be  right  back 
and  finish  your  ma's  trunk,  Miss  Meg. 

(MEG  enters  from  dining  room,  as  MR.  BROOKE  en- 
ters, in  haste,  hat  in  hand,  from  hall  door.  He 
closes  door  and  places  hat  on  chair  below,  desk 
L.  MEG,  holding  a  tea  tray  in  both  hands  and 
a  pair  of  overshoes  caught  in  one  hand,  meets 
BROOKE  just  back  of  table  c.  At  sight  of  BROOKE 
she  drops  the  rubbers  and  almost  the  tea,  which 
BROOKE  rescues.  BROOKE  grabs  opposite  edge 
of  tea  tray.  MRS.  MARCH,  her  back  to  the 
room,  sitting  with  her  head  resting  on  her  hand, 
is  unconscious  'of  either  person.) 

BROOKE.  (Quietly)  I'm  very  sorry  to  hear  of  this, 
Miss  March.  Mr.  Laurence  has  commissions  for 
me  in  Washington,  and  I  have  come  to  offer  myself 
as  escort  to  your  mother. 

MEG.  (Both  holding  tray.)  How  kind  you  are. 
It  will  be  such  a  relief  to  feel  that  she  has  you  to 
take  care  of  her.  Thank  you  very,  very  much. 
(They  stand  looking  at  one  another  for  a  minute. 
JOHN  leans  toward  her.  MEG  is  evidently  confused, 


40  LITTLE  WOMEN 

for  her  next  words  are  spoken  hurriedly)  Oh,  I'm 
afraid  this  tea  is  getting  cold — won't  you  come  and 
speak  to  Mother?  (Turning  toward  Mother.) 

BROOKE.  (Releasing  her  hand.)  No,  I  won't 
trouble  your  mother  now,  but  will  be  back  with  the 
sleigh  in  time.  (Bus.:  BROOKE  gets  hat,  opens 
door  L.I.,  looks  and  almost  inaudibly  says:)  Good- 
by.  (To  MEG) 

(SLEIGH  BELLS.) 

(MEG  carries  the  tea  to  her  mother.) 

MEG.     Here's  your  tea,  Marmee,  dear. 

XMRS.  MARCH.  (Taking  cup.)  Thank  you,  Meg. 
Has  Laurie  returned  from  Aunt  March  yet? 

MEG.  Not  yet,  dear!  ('MEG  goes  to  window  up 
c.,  hearing  sleigh  bells.)  That  may  be  Laurie  now. 
(Looking  out.)  No,  it's  Aunt  March  herself, 

Mother ('MRS.  MARCH  rises)     I'll  let  her  in. 

(Starts  toward  door  as  she  speaks.)  Mr.  Brooke 
was  just  here  and  will  act  as  your  escort  to-night  to 

Washington (MRS.   MARCH   puts  teacup   on 

little  stand  R.j 

(SLEIGH  BELLS  STOP.    VOICE  HEARD.) 
VOICE.    "WHOA!"    "Whoa!" 
(MEG  hastens  into  hall  to  admit  AUNT  MARCH  J 

MEG.     Oh,  Aunt  March. 

AUNT  MARCH.  (Ad  lib  outside.)  Oh,  my  knee, 
be  careful,  etc.  (Enter  AUNT  MARCH,  comes  c., 
MEG  L.C.  Very  crabbed  and  short  in  manner,  espe- 
cially so  after  any  show  of  tenderness.)  What's 
this,  what's  this  I  hear?  March  sick  in  Washing- 
ton? Serves  him  right,  serves  him  right.  I  al- 
ways said  it  was  absurd  for  him  to  go  into  the  army, 


LITTLE  WOMEN  41 

and  perhaps  next  time  he'll  take  my  advice.  (In 
front  of  table  a  little  to  L.  of  c.  table.) 

MEG.  Father  did  what  he  thought  was  right, 
Aunt  March.  (Down  stage  Lj 

MRS.  MARCH.  (Pushing  forward  an  easy  chair 
R.  of  table.)  Won't  you  sit  down,  Aunt  March? 

AUNT  MARCH.  (Snappishly)  No,  I  won't  sit 
down.  (Turns  away.)  A  stronger  man  could  have 
done  more.  Shouldn't  have  gone,  shouldn't  have 
gone.  I  knew  he'd  get  fever  or  something;  never 
did  know  how  to  take  care  of  himself,  or  his  money. 
You  needn't  be  begging  me  for  help  now  if  he  had. 
He'd  give  his  last  dollar  or  the  shirt  off  his  back  to 
the  first  man  who  asked  him.  Where  would  I  be 
now  if  I'd  done  the  same,  I'd  like  to  know  ? 

(READY  LIGHTS. 

MRS.  MARCH.  I'm  sorry  to  ask  you  for  money, 
Aunt  March,  but  I've  nothing  for  the  railroad  jour- 
ney. 

AUNT  MARCH.  Of  course  not,  of  course  not. 
You're  just  as  bad  as  he  is  and  then  expect  me  to 
come  to  the  rescue.  You  may  be  willing  to  end 

your  days  in  a  poorhouse,  but  I'm  not (Almost 

whining)  I'm  a  sick,  old  woman,  and  I  need  all 
I've  got.  (Rubbing  knees.) 

MRS.  MARCH.  The  money  will  be  repaid,  Aunt 
March. 

(READY  SLEIGH  BELLS. 

AUNT  MARCH.  (Snaps  it  at  her.)  Humph !  But 
when,  I'd  like  to  know?  Such  wastefulness  (Turns 
to  MEGJ,  gallivanting  off  to  Washington  on  a  scare 
telegram.  I  can't  afford  such  trips.  (Turns,  goes  to 
c.,  a  little  tearfully)  When  you  see  my  nephew,  ask 
him  what  he  means  by  going  to  the  war,  getting  sick 
and  then  asking  me  to  pull  him  out  of  the  hole. 


42  LITTLE  WOMEN 

(Stamps  her  foot  and  wrenches  her  knee,  rubs  it 
hard  and  groans.)  What  does  he  mean  by  it,  I  say, 
what  does  he  mean?  Oh,  oh!  My  knee!  Why 
don't  you  ask  me  to  sit  down  ?  ( MRS.  MARCH  offers 
her  chair  R.  of  table.  AUNT  MARCH  refuses.  AUNT 
MARCH  drops  into  chair  L.  of  table  c.)  Where's 
Josephine?  She's  the  only  practical  one  in  this 
family. 

MEG.  Jo  went  out  to  do  some  errands  for  Mother. 
Laurie 

AUNT     MARCH.      (Interrupting.)      Just     as     I 
thought.     She  is  probably  gadding  about  with  that 
rattle-pated  boy.    It's  not  proper. 
/      MRS.  MARCH.     (Quietly)    Jo — (Pause.) — is  not 
/  with  Laurie,  Aunt  March. 

AUNT  MARCH.  So  much  the  better.  Oh,  my 
knee.  (Bus.  of  rubbing  left  knee,  sees  her  mistake — 
shifts  hand  quickly  to  right  knee.  Looks  covertly 
to  see  if  MRS.  MARCH  or  MEG  notices  this.)  My 
knee!  I'll  never  sleep  to-night.  (Rises.)  Tell 
Josephine  to  come  and  read  to  me.  (Goes  to  door, 
MEG  following  anxiously.)  I  hope  for  good  news 
of  my  nephew,  but  don't  expect  it.  March  never 
had  much  stamina.  Good  night.  Ah!  (Feeling  in 
her  reticule  and  handing  a  roll  of  bills  and  a  check 
to  MEG)  Here's  the  twenty-five  you  asked  for,  and 
a  check  for  fifty  more.  Oh,  I  know  there  are  plenty 
of  bills  to  pay. 

(Ad  lib  exit,  slamming  door  behind  her  so  suddenly, 
that  neither  MRS.  MARCH  or  MEG  have  the 
chance  to  say  good  night  or  thank  you.) 

(Sleighbells,  MEG  drops  and  kisses  her  mother — giv- 
ing her  the  money.) 

MEG.  Oh,  Marmee!  I  was  afraid  she  wasn't 
going  to  give  it  to  you  after  all !  ( Goes  to  fireplace, 
pokes  fire.) 


LITTLE  WOMEN  43 

MRS.  MARCH.  '(Sits  R.  of  table.)  I  was  sure  she 
would,  Meg.  She  has  a  kind  heart,  but  is  ashamed 
to  show  it. 

("BETH  and  AMY  come  creeping  down  the  stairs, 
after  peeking  over  the  railing  to  see  if  AUNT 
MARCH  is  gone.  BETH  has  brooch,  AMY  her 
mother's  bonnet  and  shawl  and  bag.  The  late 
afternoon  light  has  been  slowly  fading  during 
the  AUNT  MARCH  interview.  MRS.  MARCH  has 
seated  herself  R.  of  table  c.  BETH  comes  R.  of 
her  mother,  AMY  L.J 

BETH.    Marmee! 

AMY.  Marmee,  we  were  afraid  to  come  clown. 
She  was  a  raging  Vulcan. 

MEG.  (At  fireplace,  laughing,  in  spite  of  her 
anxiety)  Oh,  Amy,  if  you  mean  a  volcano,  why 
don't  you  say  so? 

BETH.  She  was  kind  about  the  money,  though. 
(Hands  MRS.  MARCH  an  old-fashioned  hair  brooch.) 
Here's  your  brooch  with  Father's  hair  in  it,  Mar- 
mee. I  thought  you'd  want  to  wear  it. 

MRS.  MARCH.  (With  emotion,  pinning  on  the 
brooch)  Thank  you,  dearie.  fMEG  goes  to  back  of 
table  c.) 

BETH.  (Sound  of  someone  stamping  feet  in  hall) 
That  must  be  Jo.  Lucky  she  missed  Aunt  March. 

(Enter  Jo,  hurriedly,  looking  blown  about  and  dis- 
heveled, snow  on  hat  and  cape.) 

Jo.  Saw  Aunt  March  come  out,  so  I  dodged 
through  the  garden.  I  knew  she  wouldn't  give  us 
anything  but  advice,  and  from  her  face,  I  guess  you 
got  that  in  large  doses.  Well,  we're  independent  of 

her,  at  any  rate,  Marmee,  and (Putting  roll  of 

bills  in  her  mother's  lap.)  here's  my  contribution 


44  LITTLE  WOMEN 

toward  making  Father  comfortable  and  bringing  him 
home. 

MRS.  MARCH.     My  dear !    Where  did  you  get  it  ? 
/  Twenty-five  dollars!  <  Jo,  dear,  I  hope  you  haven't 
done  anything  rash  ? 

Jo.  No,  it's  mine  honestly.  (L.  of  table  c.,  takes 
off  mittens  and  cape,  throivs  them  on  chair  L.  of 
table  c.)  I  didn't  beg,  borrow  or  steal  it,  I  only  sold 
what  was  my  own. 

(Takes  off  her  hat,  showing  her  hair  bobbed  short, 
like  a  boy's.    General  outcry  from  all.) 

(READY  SLEIGH  BELLS. 
^x"    MRS.  MARCH.    Your  hair,  your  beautiful  hair! 

(Puts  out  her  arms.  Jo  goes  and  drops  on  her 
knees.  Head  on  mother's  lap.  MRS.  MARCH 
kisses  the  shorn  head.) 

MEG.  (Back  of  table  c.)  Oh,  Jo,  how  could 
you! 

AMY.     (Back  of  table  c.)    Your  one  beauty ! 

MRS.  MARCH.  (Very  tenderly)  My  dear. 
(Raising  Jo's  face  and  kissing  her)  There  was  no 
need  of  this. 

BETH.  (R.  of  MARMEE.J  She  doesn't  look  like 
my  Jo  any  more,  but — (Hugging  her  and  crying  at 
the  same  time.) — I  love  her  dearly  for  it. 

Jo.  (Rumpling  up  her  hair.)  It  doesn't  affect 
the  fate  of  the  nation,  so  don't  wail  about  it,  Beth. 
It  will  be  good  for  my  vanity.  I  was  getting  proud 
of  my  mop.  Besides,  it  will  cool  my  brain.  I'm  sat- 
isfied. 

f  BETH  rises,  goes  up  stage  back  of  MARMEE.    AMY 
comforts  her.) 


LITTLE  WOMEN  45 

MRS.  MARCH.  But  I  am  not,  Jo.  I  know  how 
willingly  you  sacrificed  your  vanity,  as  you  call  it,  / 
for  your  love;  but,  my  dear,  it  wasn't  necessary. 
Aunt  March  has  helped  us (Jo  sits  back,  dis- 
appointed) And  I'm  afraid  you'll  regret  it  one  of 
these  days. 

Jo.     Oh,  no,  I  won't.    (Rises,  goes  L.cJ 

MEG.     What  made  you  do  it? 

Jo.  Well,  I  was  wild  to  do  something  for  Father, 
and  I'd  have  sold  the  nose  off  my  face  for  him,  if 
anybody  would  have  bought  it.  I've  seen  tails  of 
hair,  marked  $40,  not  nearly  as  thick  as  mine.  It 
was  the  only  thing  I  had  to  sell,  so  I  dashed  into  the 
shop  and  asked  what  they  would  give  for  it. 

BETH.    I  don't  see  how  you  dared ! 

(SLEIGH  BELLS  OFF  Lj 

Jo.  Oh,  he  was  a  little  man,  who  looked  as  if 
he  only  lived  to  oil  his  hair.  He  hesitated  a  little  bit. 
I  told  him  in  my  topsy-turvy  way  what  I  wanted 
the  money  for.  His  wife  said,  "Take  it,  Thomas, 
and  oblige  the  young  lady." 

AMY.  Didn't  you  feel  dreadfully  when  the  first 
cut  came? 

Jo.  Well,  I  did  feel  queer  when  I  saw  the  dear 
old  hair  laid  out  on  the  table. 

LAURIE.    All  ready? 

(As  he  enters,  followed  almost  immediately  by  MR. 
LAURENCE  and  MR.  BROOKE.J 

LAURIE.  (L.C.  Catching  sight  of  Jo's  shorn 
head)  Jo,  what  the  dickens  have  you  done?  Are 
you  trying  to  make  a  porcupine  of  yourself  ?  You 
look  like 

(Jo  turns  up  L.C.    MEG  puts  arm  around  her.) 


^6  LITTLE  WOMEN 

MEG.  (Interrupting,  speaking  directly  to  LAU- 
RIE j  Hush,  Laurie,  don't  say  anything  now. 

MR.  LAURENCE.  ( L.,)  Time  to  go,  Madam.  The 
conveyance  is  here.  • 

'(The  GIRLS  gather  around  MRS.  MARCH.  BETH  R., 
puts  her  bonnet  on,  then  pulls  the  strings  out. 
MEG  puts  on  R.  overshoe.  Jo  pulls  on  her  L. 
overshoe  and  AMY  puts  on  her  shawl.) 

.  MRS.  MARCH.  CHANNAH  drags  in  small  hair 
I  'cloth  trunk.  BROOKE  and  LAURIE  go  up  R.,  take 
trunk  and  exit  L.I.  MR.  LAURENCE  stands  at  door 
looking  at  his  watch.)  Children,  I  leave  you  to  Han- 
nah's care  and  Mr.  Laurence's  protection.  Don't 
grieve  and  fret,  but  go  on  with  your  work  as  usual. 
(Rises.)  Hope  and  keep  busy.  Remember  that  you 
can  never  be  fatherless.  (Moving  toward  door  L.I. 
Kissing  MEG  R.,)  Meg,  dear,  be  prudent,  watch  over 
your  sisters.  (Kissing  Jo  L.j  Be  patient,  Jo,  don't 
do  anything  rash  or  get  despondent.  (Kissing  BETH 
L..)  Comfort  yourself  with  your  music,  deary. 
(Kissing  AMY.)  Amy,  help  all  you  can  and  be 
obedient. 

/MRS.  MARCH  puts  left  arm  around  Beth,  upstage, 
and  right  around  AMY  downstage — MEG  and 
Jo  follow  behind.) 

ALL.  We  will,  Marmee,  don't  fret  about  us. 
r(Ad  lib,  as  they  go  to  door  L.) 

SLEIGH  BELLS  SLOWLY  DIE  AWAY.) 

(Exit  all  but  Jo,  who  goes  to  window  c.  and  stands 
there  waving  as  the  sleigh  bells  die  away.) 

MRS.   MARCH.     (Outside,  as  sleigh  bells  start) 
/    God  bless  you,  dearies. 


LITTLE  WOMEN  47 

(As  MEG  returns,  goes  c.  BETH  and  AMY  enter  and 
stand  at  the  door  L.I.  Jo  comes  slowly  down- 
stage R.C.  She  gives  a  little  sob.) 

MEG.     (Tenderly)    Jo,  dear,  what  is  it? 

Jo.  (Trying  to  stifle  her  emotions)  I  was  just 
having  a  little  private  moan,  that's  all. 

MEG.    Are  you  crying  about  Father? 

Jo.     No,  not  now. 

MEG.    What  then? 

Jo.  (This  time  a  full-fledged  -wail)  It's— it's— 
my — my  hair!  (Kneels  beside  chair  R.  of  table  c. 
MEG  comforts  her,  leans  over  her  in  sympathy.) 

HANNAH.  (As  the  slow  curtain  begins  to  come 
down,  HANNAH  appears  in  the  dining-room,  door, 
her  eyes  red  from  weeping,  sniffling  and  trying  to 
get  hold  of  herself)  Will  yez  have  hash  or  fish- 
balls  for  breakfast,  gurruls? 

QUICK    CURTAIN 

(Second  curtain.  HANNAH  off.  BETH  kneeling  at 
fireplace  hugging  MARMEE'S  slippers.  MEG  in 
chair  R.  of  c.  table,^  with  her  arm  around  JoJ 
AMY  at  door  L.  Third  curtain — line  up  of  MEG, 
Jo,  BETH  and  AMY — curtsey.) 


ACT  TWO 

SCENE  ONE  :    Same  as  Act  One. 

TIME:  Three  months  later.  Morning.  March, 
1864. 

Music  AT  RISE:  CURTAIN  UP;  "The  Birds  of 
Aberfeldy." 

LIGHTS  FULL-UP  :    No  change.    Medium  curtain. 

DISCOVERED:  MRS.  MARCH  seated  L.  of  table  c., 
turned  toward  fireplace  a  little,  sewing.  Enter 
LAURIE,  L.I.,  slips  down  back  of  her,  puts  two 
or  three  flowers  in  a  slender  -vase  beside  her 
and  gives  her  a  hearty  kiss  and  hug.  Wing 
chair  at  fireplace  removed — a  small  upholstered 
settee  replaces  it. 

LAURIE.     Good  morning-,  Madam  Mother! 

MRS.  MARCH.     Oh,  Laurie! 

LAURIE.  What  report  from  Mr.  March  and 
Beth? 

MRS.  MARCH.  Both  are  better,  I  am  happy  to 
say.  And  it's  good  to  have  him  home  again.  You 
never  forget  my  nosegay,  Laurie. 

LAURIE.  (Goes  L.c.J  Where's  Jo?  I've  some- 
thing to  tell  her. 

MRS.  MARCH.  (Putting  down  her  sewing  and 
rising)  I'll  send  her  to  you,  dear.  She's  playing 
nurse  to  Father  and  Beth  in  the  study.  (Goes  from 
room  to  study  door  R.I.E.  Takes  vase  of  flowers 
with  her.) 

48 


LITTLE  WOMEN  49 

LAURIE.    Tell  her  I've  a  plummy  bit  of  news. 

(MRS.  MARCH  laughs  and  exits  L.C.  LAURIE  walks 
up  and  down  the  room  L.,  hands  in  pockets, 
singing  "How  Can  I  Bear  to  Leave  Thee?" 
Gases  out  of  zvindow  L.  with  hands  clasped  bur- 
lesque lover  style,  sings  to  second  line,  when  Jo 
enters — LAURIE  laughs.) 

Jo.  (Enters  R.I.E.,  carries  her  little  old-fashioned 
writing  box  under  her  arm.  Goes  to  front  of  table 
c.)  What's  your  secret,  Teddy? 

LAURIE.  (Comes  c.)  Well,  I  may  get  into  a 
scrape  for  telling-  it,  and  I  never  feel  easy  in  my 
mind  till  I've  told  you  any  plummy  news  I  get. 

Jo.     Out  with  it — is  it  nice? 

LAURIE.     Oh,  it's  spandy  nice! 

Jo.     Well,  fire  away  then! 

LAURIE.  (In  front  of  table  c.)  I  know  where 
Meg's  glove  is. 

Jo.  (In  front  of  table  c. — disappointed)  Is  that 
all? 

LAURIE.  It's  quite  enough  for  the  present,  as 
you'll  agree  when  I  tell  you  where. 

Jo.    Tell  then 

LAURIE.  (Bends  down  and  whispers  in  Jo's  ear) 
John  Brooke  has  it. 

Jo.  John  Brooke  has  it — how  do  you,  know? 
(Breaks  away  to  R.) 

LAURIE.     Saw  it. 

Jo.     Where? 

LAURIE.  Pocket.  I  asked  him  if  he'd  popped 
the  question  and  he  owned  up  he  was  afraid  to. 
He's  so  poor  and  she's  so  young.  Isn't  it  romantic  ? 

Jo.     (Goes  L.c.J    No,  it's  horrid. 

LAURIE.     I  thought  you'd  be  pleased. 

Jo.  At  the  thought  of  anyone  coming  to  take 
Meg  away  ?  No,  thank  you. 


50  LITTLE  WOMEN 

LAURIE.  (Meaningly,  sitting  against  c.  table) 
You'll  feel  better  about  it  when  someone  comes  to 
take  you  away. 

Jo.  Like  to  see  anyone  try  it (With  clenched 

fists.) 

LAURIE,     (c.,  chuckling)     So  should  I. 

Jo.  (Rumpling  her  hair  fretfully)  Secrets  don't 
agree  with  me,  Teddy.  I  feel  rumpled  in  my  mind. 

LAURIE.  (Soothingly,  goes  to  Jo,  L.cJ  Amy  and 
I  are  going  skating  by-and-by.  Come  along  and  for- 
get your  troubles. 

Jo.  Can't — want  to  finish!  a  story.  (Goes  to 
table,  sits  L.  of  it.) 

LAURIE.  Such  ambition !  Oh,  come  along  with 
Amy  and  me. 

Jo.  (Picking  up  her  quill  pen — snaps  out)  Go 
away,  Teddy.  I'm  busy. 

LAURIE.  Ouch!  All  right — (Starting  toward 
hall  door) — but  this  will  be  about  the  last  day  for 
the  river.  (Exits  L.iJ 

/Jo,  "busy  with  her  papers  and  evidently  furious  at 
•what  she  has  heard,  jumps  up  from  her  chair, 
dashes  her  quill  pen  down  on  the  table,  throws 
a  book  violently  to  the  floor.  Enter  MRS. 
MARCH  unseen  R.I.,) 

Jo.  Oh,  I'm  so  cross — I  wish  I'd  never  been 
"born.  (Buries  her  head  in  her  hands  as  she  sits  by 
table.) 

MRS.  MARCH.  (Goes  over  quietly,  back  of  table, 
and  taking  the  tumbled  head  in  her  arms,  at  back 
of  Jo;  Why,  Jo,  what  is  it? 

Jo.  Oh,  it's  my  dreadful  temper,  Marmee.  I 
get  so  savage  when  I'm  in  a  passion,  I  could  hurt 
anyone  and  enjoy  it.  Oh,  Mother,  help  me,  help 
me !  (Arms  around  MARMEE'S  waist) 


LITTLE  WOMEN  51 

MRS.  MARCH.  Jo,  dear,  you  think  your  temper  is 
the  worst  in  the  world — ( Jo  nods) — but  mine's  just 
like  it. 

Jo.     Yours,  Mother?    Why,  you're  never  angry. 

MRS.  MARCH.  My  dear,  I  have  been  trying  to 
cure  it  for  forty  years  and  have  only  succeeded  in 
controlling  it.  (Starts,  picks  up  quill  pen  R.c.j  I 
still  have  to  learn  not  to  feel  it — (Smiling) — though 
that  may  take  me  another  forty  years.  (Sits  down, 
bringing  chair  forward  a  little,  takes  up  work  bas- 
ket, R.  of  table  c.)  What's  the  trouble? 

Jo.  (Rising)  I  want  to  tell  you  something, 
Mother. 

MRS.  MARCH.    About  Meg? 

Jo.  How  quickly  you  guessed.  Although  it's  a 
little  thing,  it  fidgets  me. 

MRS.  MARCH.     Well,  tell  me  all  about  it. 

Jo.  (Flops  down  on  the  floor  in  front  of  table 
at  her  mother's  feet)  Well,  Meg  left  a  pair  of 
gloves  over  at  the  Laurences'  and  only  one  was  re- 
turned. We  forgot  all  about  it,  till  Teddy  told  me 
that  Mr.  Brooke  has  it. 

MRS.  MARCH.  (Quickly)  How  could  Laurie 
know  that  ? 

Jo.  Mr.  Brooke  kept  it  in  his  pocket,  and  once 
it  fell  out  and  Teddy  joked  him  about  it.  Mr. 
Brooke  owned  that  he  liked  Meg.  Now,  isn't  that  a 
dreadful  state  of  things? 

MRS.  MARCH.     Do  you  think  Meg  cares  for  him? 

Jo.  Mercy  me!  I  don't  know  anything  about 
love  and  such  nonsense.  In  novels  the  girls  show  it 
by  starting  and  blushing,  fainting  away,  and  acting 
like  fools.  Now  Meg  doesn't  do  anything  of  the 
sort ;  she  eats  and  drinks  and  sleeps  like  a  sensible 
creature. 

MRS.  MARCH.  Then  you  fancy  that  Meg  is  not 
interested  in  John? 

Jo.     (Astonished)     Who? 


52  LITTLE  WOMEN 

MRS.  MARCH.  Mr.  Brooke.  (Jo  starts  to  rise 
with  a  groan)  We  fell  into  the  way  of  calling  him 
John  at  the  hospital. 

Jo.  (Rising  to  feet  and  striding  up  and  down 
L.c.j  Oh,  dear,  I  know  you'll  take  his  part.  He's 
been  good  to  Father,  so  you'll  let  Meg  marry  him,  if 
she  wants  to.  O-o-oh,  the  mean  thing!  To  go 
petting  Papa  just  to  wheedle  you.  (Kicks  newel 
post.) 

MRS.  MARCH.  My  dear,  don't  get  angry.  John 
was  so  devoted  to  poor  Father,  we  couldn't  help 
getting  fond  of  him. 

Jo.  But  that's  no  reason  why  he  should  try  to 
steal  Meg. 

MRS.  MARCH.  He  was  perfectly  open  and  honor- 
able about  Meg.  He  told  us  he  loved  her  and  only 
asked  the  right  to  try  to  make  her  love  him. 

Jo.  (Still  angry)  In  my  opinion,  he  tried  first 
and  asked  leave  second.  (Comes  downstage  a  little, 
'shaking  her  fist  at  window  L.)  Oh,  I  knew  there 
was  mischief  brewing.  I  just  wish  I  could  marry 
Meg  myself  and  keep  her  safe  in  the  family. 

MRS.  MARCH.  (Smiling)  Jo,  say  nothing  to  Meg 
about  this,  please.  Perhaps  she  does  not  care  for 
him. 

Jo.  (L.C.)  Oh,  I  don't  know.  She  likes  brown 
eyes  and  doesn't  think  John  an  ugly  name.  (Gives 
a  funny  little  nod  of  head) 

MRS.  MARCH.  (Smiling  in  spite  of  herself)  Not 
very  fatal  symptoms,  Jo. 

Jo.  (Pathetically)  Well,  I  feel  it  in  the  air, 
Marmee.  They'll  go  lovering  about  the  house  and 
we  shall  have  to  dodge.  (Goes  up  to  desk  L.) 

MRS.  MARCH.  My  dear,  John  has  his  way  to 
make  in  the  world.  He's  in  no  position  to  marry 
now. 

Jo.  Oh,  he'll  scratch  up  a  fortune  somewhere 
and  carry  her  off  and  make  a  hole  in  the  family,  and 


LITTLE  WOMEN  53 

I  shall  break  my  heart  and  be  abominally  uncom- 
fortable. (Comes  down)  Oh,  dear  me,  why  weren't 
we  all  boys?  Then  there  wouldn't  be  any  bother. 

(Mas.  MARCH  sighs — bus.) 

Jo.  (Comes  do^vn  to  her — in  front  of  table) 
You  don't  like  it  either,  Mother.  Let's  send  him 
about  his  business,  and  all  be  happy  together  as  we 
always  have  been. 

MRS.  MARCH.  I  did  wrong  to  sigh,  Jo.  It  is 
natural  and  right  that  you  should  all  go  to  homes 
of  your  own  in  time,  but  I  want  to  keep  my  girls 
with  me  as  long  as  I  can,  and  I  am  sorry  this  hap- 
pened so  soon. 

Jo.  So  am  I,  and  I'm  disappointed  about  Meg, 
for  I  had  planned  to  have  her  marry  Teddy  by-and- 
by,  and  sit  in  the  lap  of  luxury  all  her  days. 

MRS.  MARCH.  Money  is  a  needful  and  precious 
thing,  and  many  times  a  beautiful  thing,  but  I'd 
rather  see  my  girls  poor  men's  wives  if  they  were 
happy  and  contented,  than  queens  on  thrones  with- 
out self-respect  and  peace.  (Places  hand  over  Jo's 
on  table)  Let  time  and  their  own  hearts  mate  our 
friends,  Jo.  Don't  make  plans,  lest  they  spoil  our 
friendships. 

Jo.  Well,  I  won't,  but  I  hate  to  see  things  going 
all  criss-cross  and  getting  snarled  up,  when  a  pull 
here  and  a  snip  there  would  straighten  it  out.  f  MR. 
MARCH  enters,  looks  back  into  study,  smiling  to 
BETH,  turns  as  he  hears  "flatirons"  and  "cats."  Jo 
picks  up  her  book  and  quill  pen  she  had  thrown  to 
floor.)  I  wish  wearing  flatirons  on  our  heads  would 
keep  us  from  growing  up.  But  buds  will  be  roses, 
and  kittens,  cats,  more's  the  pity.  (Sits  L.  of  table.) 

MARCH.  (Comes  to  R.C.J  Beth  has  awakened, 
Mother.  What's  that  I  hear  about  flatirons  and 
cats,  Jo? 


54  LITTLE  WOMEN 

(Goes  up  to  small  table  at  fireplace  and  gets  apple 
and  knife.  MRS.  MARCH  goes  to  door  R.I.) 

Jo.     Only  one  of 'my  stupid   speeches,   Father. 

AMY.  (Comes  downstairs,  dressed  for  skating, 
skates  over  arm.)  I'm  going  skating  with  Laurie, 
Marmee.  We'll  stop  at  the  office,  Father,  for  the 
mail. 

(  MARCH  goes  down  to  chair  R.  of  table  c.) 

MRS.  MARCH.  (At  study  door.)  Don't  be  late 
for  dinner,  Amy. 

AMY.  (At  door  L.i.J  No,  Marmee.  You  know 
I  am  always  "punctiluous." 

/MARCH  and  MRS.  MARCH  look  at  each  other  and 
smile  at  AMY'S  attempt  at  big  words.  Exit 
AMY  hall  door  L.I.  MRS.  MARCH  study  door 
R.I.  Jo  wipes  quill  on  hair  and  dress.) 

MARCH.  (Smiles,  sinking  into  large  chair  R.  of 
table.)  How  goes  the  writing,  my  daughter  ?  (Peel- 
ing apple.) 

Jo.  (Fingering  the  pen  as  she  speaks)  Oh, 
Father — sometimes  I  get  discouraged,  tear  up  pages 
and  pages,  and  sometimes — (Laughing) — genius 
burns.  I've  been  doing  a  lot  of  short  stories  and  I 
wish  I  could  sell  some  of  'em.  I  do  want  to  make 
some  money. 

MARCH.  (Stops  peeling  apple.)  Money  isn't  the 
only  thing  in  the  world,  my  child.  (Places  his  left 
hand  on  table  towards  ]o.) 

Jo.  /  know,  Plato.  (She  reaches  over  and  pats 
his  hand.) 

MARCH.  (Smiles,  starts  peeling  apple  again) 
Is  Aunt  March  as  trying  and  amusing  as  ever  ? 

Jo.  (Laughing)  She  gets  worse  and  worse ;  and 
funnier  and  funnier. 


LITTLE  WOMEN  55 

MARCH.  What  is  the  latest  wrinkle?  (Laugh- 
ing) 

Jo.  Oh,  nothing-  new — washing  the  poodle,  hear- 
ing the  parrot  swear  and  reading  Belsham's  Essays. 
Father,  when  I  think  of  the  good  times  she  might 
have  and  doesn't,  I  don't  envy  her  with  all  her 
money. 

MARCH.  (Heartily)  You  are  right,  Jo;  but 
you've  Uncle  March's  library  to  browse  in,  that's 
some  comfort. 

Jo.  That  reminds  me,  Father;  such  an  interest- 
ing man  has  been  there — a  Professor  Friederich 
Bhaer. 

MARCH.  (Animated)  Oh,  the  Professor  Bhaer 
who  translated  Shakespeare  into  German  and  is  mak- 
ing an  English  translation  of  Schiller?  (Puts  apple 
peeling  on  small  piece  of  paper  on  table.) 

Jo.  I  had  no  idea  that  my  middle-aged  professor 
was  a  celebrity. 

MARCH.  Neither  is  he.  When  his  sister  was 
dying  he  gave  up  his  career  and  came  over  here  to 
take  care  of  his  two  little  orphan  nephews,  whom  he 
is  educating  in  this  country. 

Jo.     Why  doesn't  he  educate  them  in  Germany? 

MARCH.  Their  father  was  an  American  and  it 
was  their  mother's  last  request  that  her  sons  be 
brought  up  as  Americans.  So  Professor  Bhaer 
adopted  not  only  the  boys,  but  their  country,  as  his 
own. 

Jo.     A  fine,  manly  thing  to  do ! 

MARCH.     What  is  he  like  ? 

Jo.  He  isn't  handsome,  and  while  he  was  looking 
over  the  books,  he  was  humming  like  a  big  bumble- 
bee. Rather  stout,  a  bushy  beard,  a  good  nose,  and 
the  kindest  eyes  I  ever  saw.  He  looks  like  a  gen- 
tleman, even  if  he  has  two  buttons  off  his  coat  and 
a  patch  on  one  shoe. 


56  LITTLE  WOMEN 

MR.  LAURENCE.  (Enters  L.I.)  Good  morning, 
sir. 

(]o  rises,  meets  him,  takes  his  hat  and  puts  it  ori 
chair  below  desk  L. ;  goes  back  and  places  chair 
L.  of  table  c.  for  LAURENCE.,) 

MARCH.  (Rising)  Good  morning,  Mr.  Lau- 
rence. 

LAURENCE.    And  how  are  you  feeling  to-day  ? 

MARCH.  (Smiles,  taking  paper  with  apple  peel- 
ing and  goes  to  fireplace.)  Improving  steadily, 
thank  you.  Home  was  what  I  needed.  (Throws 
peeling  into  fireplace.) 

MR.  LAURENCE.  (Sits.)  And  my  little  friend 
Beth? 

(]o  sits  lack  of  table  C.') 

MARCH.  '(Coming  back.)  She  is  better  this 
morning  (Pauses  R.C. ),  though  she  seems  very  frail. 
But  I  am  sure  she  will  gain  with  the  coming  of  the 
Spring.  (Coming  back  to  chair  R.  of  table,  sits,  eat- 
ing apple.) 

MR.  LAURENCE.  Miss  Jo,  have  you  seen  that 
harum-scarum  grandson  of  mine?  What  mischief 
is  he  up  to  now  ? 

Jo.  He's  out  skating  with  Amy,  sir.  Don't 
worry  about  Teddy,  Mr.  Laurence;  he'll  turn  out 
all  right. 

MR.  LAURENCE.  Well,  he  ought  to,  after  all  the 
kindness  you  show  him  over  here. 

Jo.  (Quaintly)  Well,  Marmee  has  always  told 
us:  Cast  your  bread  upon  the  waters,  and  after 
many  days  it  will  come  back — Buttered!  (ALL 
laugh) 

MR.  LAURENCE.     (Smiling)    Don't  spoil  the  lad. 


LITTLE  WOMEN  57 

(Rises.  Enter  BETH,  MRS.  MARCH  and  MEG. 
BETH  thin  and  pale,  showing  that  she  has  been 
ill.  Bus.  of  settling  her  comfortably  on  settee. 
MEG  comes  in  first,  BETH  second,  MRS.  MARCH 
third.  MEG  and  MRS.  MARCH  carry  an  extra- 
pillow  and  afghan  for  BETH  to  help  make  her 
comfortable.  MRS.  MARCH  goes  up  to  settee, 
fixing  shawl,  etc.,  for  BETH.J 

MEG.  Mr.  Laurence,  you  see  that  Beth  comes 
with  a  royal  retinue.  (Goes  to  settee  at  fireplace, 
helping  MRS.  MARCH  fix  same.) 

MR.  LAURENCE.  (Goes  to  BETH  R.cJ  As  she 
should,  our  little  household  queen. 

BETH.  (Holds  out  her  hand,  MR.  LAURENCE 
kisses  it — BETH  smiles  up  at  him  as  he  bends  over 
her)  How  sunny  the  days  are  growing. 

(Jo  goes  to  desk  L.  carrying  her  writing  box.  MEG 
gets  picture  book  out  of  closet  under  niche  for 
BETH.  BETH  has  bright  yarns — and  a  big  spool 
with  pins  making  yarn  reins  which  will  event- 
ually be  coiled  into  a  lamp  mat.) 

MR.  LAURENCE.  We  must  soon  get  you  out 
into  the  sunshine,  my  child.  There  is  health  and 
vigor  in  this  air. 

MRS.  MARCH.  Sit  Here,  Mr.  Laurence.  Beth 
always  looks  forward  to  her  morning  visit  with  you, 
sir.  (Goes  back  to  table) 

MR.  LAURENCE.     (Sitting.)    Thank  you,  Madam. 

(LAURENCE  sits  L.  of  BETH  on  settee  by  fireplace, 
talking  to  her  inaudibly,  showing  her  picture 
book.  MRS.  MARCH  pats  MR.  MARCH'S  head 
tenderly  and  then  sits  back  of  table  c.  and  be- 
gins sewing.  MR.  MARCH  sits  quietly,  his  head 
back,  eyes  closed,  as  if  resting.) 


58  LITTLE  WOMEN 

MEG.  (Goes  up  to  window  c.,  stands  looking 
out.)  Here  come  Amy  and  Laurie  racing  along 
like  two  children.  They  are  getting  too  old  for  such 
frolics.  (Goes  to  desk  L.) 

Jo.  (Sitting  in  chair  at  desk  L. — sadly)  Don't 
try  to  make  them  grow  up  before  their  time,  Meg. 
It's  hard  enough  to  have  you  change,  all  of  a  sudden. 

(Enter  LAURIE  and  AMY,  both  laughing  outside  as 
they  come  running  up,  skates  over  arms.) 

LAURIE.  (Waving  a  nezvspaper  jubilantly)  Hur- 
rah !  Hurrah !  Here's  a  plummy  bit  of  news,  and 
the  real  sensation  of  the  season.  (Goes  to  c.  up- 
stage, back  of  table  a  little  L.J 

ALL.     Oh,  what  is  it? 

LAURIE.  (Waving  paper  triumphantly)  We've 
a  genius  in  the  March  family. 

^BETH  and  MR.  LAURENCE  rise  and  drop  dozvn  R.C. 
MR.  LAURENCE  sits  on  BETH'S  little  stool,  takes 
BETH  on  his  knee.) 

MEG.     (Comes  L.C.)    I'm  sure  it's  dear  old  Jo. 

LAURIE,  (c.  of  table  c.,  still  waving  paper)  Be 
it  known  by  these  present  that  this  paper 

Jo.  (Goes  to  LAURIE,  trying  to  take  paper  from 
him)  The  Spread  Eagle.  Oh,  Teddy — it  isn't — 
it  isn't 

(MEG  drops  down  to  AMY  L.) 

LAURIE,  (c.)  It  very  much  is,  thank  you,  a 
story  with  a  pleasing  illustration  of  a  lunatic,  a 
corpse,  a  villain  and  a  viper.  And  your  name  at 
the  bottom,  Miss  Josephine  March.  Hurrah  for  the 
Spread  Eagle  and  the  celebrated  American  author- 


LITTLE  WOMEN  59 

(Gives  Jo  the  paper,  tossing  his  skating  cap  in  the 
air,  goes  up  stage.) 

Jo.  Marmee — Marmee — my  story's  printed 

(Sits  in  chair  L.  of  table,  putting  paper  over  face 
and  rocking  back  and  forth) 

LAURIE.  Isn't  it  fine  to  see  it  all  in  print,  and 
aren't  we  proud?  (Goes  L.) 

MARCH.     Let  me  see,  my  daughter. 

(Jo  hands  him  the  paper,  which  he  reads,  putting 
on  spectacles.) 

BETH.  (Holding  out  her  hand,  Jo  goes  over  to 
her  chair  and  takes  it  tenderly)  I  knew  it — I  knew 
it — oh,  my  Jo,  I  am  so  proud ! 

AMY.  ('L.  Dancing  about  excitedly)  Tell  us  all 
about  it.  Did  Father  know  or  Mother? 

MEG.    fL.cJ    How  did  you  ever  dare  try? 

AMY.     How  much  did  you  get  for  it? 

Jo.  (Coming  R.c.J  Stop  jabbering,  girls,  and 
I'll  tell  you  all  about  it.  To  begin  with,  Laurie  had 
read  my  stuff  and  he  said 

LAURIE.  (Down  L.  cor.,  interrupting — MEG  and 
AMY  turn  to  each  one  as  Jo  and  LAURIE  interrupt 
each  other)  I  said  her  stories  were  works  of  Shake- 
speare compared  to  most  of  the  rubbish  that  is  pub- 
lished every  day. 

Jo.  So  I  gave  him  three  stories  to  take  to  a  pub- 
lisher he  knows,  and 

LAURIE.  (Again  interrupting)  This  is  the  re- 
sult. Two  stories  accepted,  and  the  third  also,  if  you 
will  cut  out  the  moral. 

MR.  and  MRS.  MARCH.    Oh,  Laurie ! 

LAURIE.  People  don't  want  to  be  preached  at; 
morals  don't  pay  nowadays  and  here's  a  check  for 
$50.  (Goes  to  Jo  in  front  of  table  c.,  takes  check 


60  LITTLE  WOMEN 

from  pocket  and  hands  it  to  her.  MEG  and  AMY 
down  L.) 

Jo.  (In  front  of  table  c.,  grabbing  check  and 
staring  at  it  as  if  she  doubted  her  eyes)  $50 — ha, 
ha — and  I  can  write  reams  of  'em !  I  can't 
do  much  with  my  hands,  but  I'll  make  a  battering 
ram  of  my  head  and  beat  a  living1  out  of  this  topsy- 
turvy world!  (Turns  around  to  MRS.  MARCH — 
tears  as  MRS.  MARCH  kisses  her,  back  of  table  c.) 

MARCH.  (Indicating  story)  It  is  good,  my 
daughter,  but  you  can  do  better  than  this.  "Hitch 
your  wagon  to  a  star,"  remember,  and  never  mind 
the  money. 

AMY.  (Down  L.J  I  think  the  money  is  the 
nicest  part  of  it.  Fancy  earning  $50  all  by  your- 
self. What  ever  will  you  do  with  such  a  fortune? 

Jo.  (L.  of  table  c.)  Send  Beth  and  Mother  to  the 
seashore. 

BETH.  (Clapping  her  hands)  Oh,  how  splen- 
did! Jo,  I  can't  do  it,  dear;  it  would  be  so  selfish! 

Jo.  Oh,  but  you  shall  go.  I've  set  my  heart  on 
it.  That  is  what  I  tried  for  and  why  I  succeeded. 
I  never  get  on  when  I  think  of  myself  alone,  so  it 
will  help  me  to  work  for  you,  don't  you  see? 

MEG.  Marmee  needs  to  go  after  nursing  two 
invalids,  and  she  won't  leave  without  you,  Beth. 

MRS.  MARCH.  (Goes  to  BETH  R.j  Beth,  dear, 
let  Jo  spend  her  first  $50  in  her  own  way. 

BETH.  It's  such  a  beautiful  way.  Just  like  my 
Jo! 

MRS.  MARCH.  We  all  want  to  hear  Jo's  story,  I 
know.  Father,  are  you  too  tired  to  read  it  aloud? 
(Goes  R.cJ 

MARCH.  (Rises.)  I  never  have  a  chance  to  get 
tired,  with  such  devoted  nurses.  (Taking  them  all 
in — goes  R.)  Suppose  we  go  to  the  study,  where 
the  light  is  better  ? 


LITTLE  WOMEN  61 

(Exits  into  study  R.L.  BETH  and  MRS.  MARCH  exit 
after  him.  AMY  takes  skates  and  hood  up  to 
closet.  MR.  LAURENCE  goes  to  Jo,  c.,  offering 
hand.) 

MR.  LAURENCE.  My  sincerest  congratulations, 
Miss  Jo. 

Jo.  Thank  you,  sir.  (Shakes  hands  with  a  slap 
and  a  grip  which  MR.  LAURENCE  registers  comically) 

MR.  LAURENCE.  (Goes  to  R.I.E.,  bows  grandly  to 
AMYJ  You  first,  my  lady. 

('AMY  exits  R.I. — LAURENCE  follows.  ALL  heard 
talking  in  library  a  few  seconds — "Sit  down 
here,  MR.  LAURENCE/'  etc.,  until  the  door 
closes.) 

LAURIE.  (Goes  L.  to  door)  I  must  run  across 
with  these  letters  for  old  Brooke.  Oh,  Meg,  have 
you  seen  him  since  he  came  home?  (Teasingly.) 

MEG.  (Above  desk  L.  with  dignity,  while  Jo 
shakes  her  head  at  LAURIEJ  Certainly.  He  comes 
to  see  Father  and  Mother  every  day. 

LAURIE.  (Laughing  and  refusing  to  catch  Jo's 
eye)  Such  devotion — to  Father  and  Mother! 

(Exits  L.    As  the  door  slams,  MEG  walks  to  win- 
dow L.  and  looks  out.) 

Jo.  (Casing  at  the  check,  smiling  happily,  to  her- 
self as  much  as  to  MEG)  Why,  I  can  go  on  spin- 
ning yarns  like  a  spider — and  perhaps  take  care  of 
them  all. 

(Laugh  from  MEG  makes  her  look  at  her;  Jo  front 
of  table.) 

MEG.  Jo,  what  is  Laurie  doing  there  out  in  the 
snow  ?  See,  he's  on  one  knee,  with  his  hands  clasped 
looking  at  me.  Now  he's  pretending  to  wring  tears 


62  LITTLE  WOMEN 

out  of  his  handkerchief.  (Laughing)  What  does 
the  goose  mean  ? 

Jo.  (Scornfully)  He's  showing  you  how  your 
John  will  go  on  by-and-by.  Touching,  isn't  it? 

MEG.  (Comes  down  to  ]o.)  Don't  say  "my 
John,"  it  isn't  proper  or  true.  Please  don't  plague 
me,  Jo.  I've  told  you  I  don't  care  much  for  him,  so 
let  us  all  be  friendly  and  go  on  as  before.  (Goes 
to  desk  and  takes  up  sewing) 

Jo.  Well,  I  wish  it  was  settled.  I  hate  to  wait, 
so  if  you  ever  intend  to  do  it,  make  haste  and  have 
it  over  quickly. 

MEG.  I  can't  say  or  do  anything  till  he  speaks, 
and  he  won't,  because  Father  says  I  am  too  young. 

Jo.  If  he  did  speak,  you  wouldn't  know  what 
to  say. 

MEG.  I'm  not  so  silly  and  weak  as  you  think !  I 
know  just  what  I'd  say — for  I've  planned  it  all. 

Jo.  (Leaning  against  table  L.  side)  You've 
planned  it? 

MEG.  Well,  there's  no  telling  what  may  happen 
and  I  wish  to  be  prepared. 

Jo.  (Smiling  sarcastically)  Would  you  mind 
telling  me  what  you'd  say? 

MEG.  Not  at  all.  You  are  quite  old  enough  to 
be  my  confidante,  and  my  experience  will  be  useful 
to  you  by-and-by,  in  your  own  affairs  of  this 
sort. 

Jo.  (Facing  front)  Don't  mean  to  have  any. 
It's  fun  to  watch  other  people  philander,  but  I  should 
feel  like  a  fool  doing  it  myself. 

MEG.  (Dropping  her  work  and  looking  dream- 
ily out  of  window)  I  think  not,  if  you  liked  him 
very  much — and  he  liked  you. 

Jo.  Humph!  I'd  rather  be  an  old  maid  and 
paddle  my  own  canoe.  (Bluntly,  turning  to  MEG) 
Well,  I  thought  you  were  going  to  tell  me  your 
speech  to  that  man. 


LITTLE  WOMEN  63 

MEG.  Oh,  I  should  merely  say,  quite  calmly  and 

decidedly (Puts  down  sewing,  folds  hands  in 

lap — feet  together — sits  very  primly)  "Thank  you, 
Mr.  Brooke,  you  are  very  kind,  but  I  agree  with 
father  that  I  am  too  young  to  enter  into  any  en- 
gagement at  present.  So  please  say  no  more,  but 
let  us  be  friends,  as  we  were."  (Settles  herself  and 
looks  at  JoJ 

Jo.  (Looks  at  MEG)  Hum!  That's  stiff  and 
cool  enough.  I  don't  believe  you'll  ever  say  it — 
and  if  he  goes  on  like  the  rejected  lovers  in  books, 
you'll  give  in. 

MEG.  (Rises,  goes  up  to  foot  of  stairs)  No,  I 
won't.  I  shall  tell  him  I've  made  up  my  mind,  and 
shall  walk  out  of  the  room  with  dignity.  (Walks  as 
if  rehearsing  her  dignified  exit — as  she  gets  to  foot 
of  stairs.  Knock  is  heard  in  the  hall) 

BROOKE.     (In  hall)    Anybody  home? 

'(MEG  flies  back  to  her  seat  at  desk  L.  with  a  little 
cry  and  begins  sewing  violently.) 

Jo.  (Laughs  sarcastically)  Ha,  ha!  (Goes, 
jerks  open  door  and  stands  in  doorway,  stopping 
BROOKEJ 

BROOKE.  (Enters,  startled  by  the  suddenness, 
raises  his  hat,  looks  confused)  Good  morning,  I 
came  to  get  my — (Pause) — umbrella.  That  is,  to 
see  how  your  Father  finds  himself  to-day? 

Jo.  (Very  sarcastic)  It's  very  well,  he's  in  the 
rack — I'll  get  him  and  tell  it  you  are  here. 

(Dashes  upstairs — stamping.     BROOKE  closes  door 
and  goes  R.C.,  doesn't  see  MEG.) 

MEG.  Mother  will  like  to  see  you.  Pray  sit 
down.  I'll  call  her.  (Goes  toward  R.) 


64  LITTLE  WOMEN 

BROOKE.  Don't  go.  Are  you  afraid  of  me,  Mar- 
garet? (Stopping  her  R.c.J 

MEG.  (Putting  out  her  hand  confidingly  at  end 
of  speech)  How  can  I  be  afraid  "when  you  have 
been  so  kind  to  father?  I  only  wish  I  could  thank 
you  for  it. 

BROOKE.  (Taking  her  hand  in  both  of  his)  Shall 
I  tell  you  how? 

MEG.  (Trying  to  withdraw  her  hand,  turning 
her  head  away)  Oh,  no,  please  don't — I'd  rather 
not. 

BROOKE.  I  only  want  to  know  if  you  care  for 
me  a  little,  Meg.  I  love  you  so  much,  dear. 

MEG.  (Hanging  her  head  and  speaking  abruptly, 
almost  in  tears)  I — I  don't  know. 

BROOKE.  Will  you  try  to  find  out?  I  want  to 
know  so  much,  for  I  can't  go  to  work  with  any  heart 
until  I  know  'whether  I  am  to  have  my  reward  or 
not. 

MEG.     (Falteringly)     I'm — I'm  too  young. 

BROOKE.  I'll  wait.  And  in  the  meantime,  you 
could  be  learning  to  like  me.  Would  it  be  a  very 
hard  lesson,  dear? 

MEG.     Not  if  I  choose  to  learn. 

BROOKE.  Please  choose  to  learn.  I  love  to  teach 
and  this  is  easier  than  Italian. 

MEG.  (Looking  up,  sees  that  he  is  smiling — 
draws  away  her  hand,  petulantly)  I  don't  choose. 
Please  go  away  and  let  me  be.  (Goes  to  desk) 

BROOKE.  (Following  her  anxiously  as  she  walks 
away)  Do  you  really  mean  that? 

MEG.  Yes,  I  do.  I  don't  want  to  be  worried 
about  such  things.  Father  says  I  needn't.  It's  too 
soon  and  I'd  rather  not ! 

BROOKE.  May  I  hope  you'll  change  your  mind 
by-and-by  ? 

AUNT  MARCH.  (Heard  thumping  her  cane  in 
hall)  Anybody  home?  Where  is  everybody? 


2 

or 


LITTLE  WOMEN  65 

(Cane  thumping.  MEG  rushes  BROOKE  off  into  din- 
ing room;  BROOKE  grabbing  up  his  hat  by  centre 
table  as  he  goes.  AUNT  MARCH  enters  L.I.,  stops 
L.C.  in  time  to  see  BROOKE  disappearing — MEG  looks 
confused  and  conscious)  Bless  me,  what's  all  this? 
(Rapping  her  cane  and  glaring  fiercely  at  MEG  and 
at  dining-room  door) 

MEG.  It's  father's  friend.  I'm  so  surprised  to 
see  you.  (Fixes  chair  L.  of  table  for  AUNT  MARCH ) 

AUNT  MARCH.  (Grimly)  That's  evident. 
What's  father's  friend  been  saying  to  make  you  look 
like  a  "Piny"?  (Starts  to  cross)  There's  mis- 
chief going-  on  here  and  I  insist  upon  knowing  what 
it  is.  (Goes  to  chair  R.  of  table  and  sits — another 
tap  of  cane) 

MEG.  (L.  of  table)  We  were  merely  talking. 
Mr.  Brooke  came  for — for  his  umbrella. 

AUNT  MARCH.  Brooke?  That  boy s' tutor ?  Ah, 
I  understand  now.  You  haven't  gone  and  accepted 
him,  child? 

MEG.     Hush,  he'll  hear!    Sha'n't  I  call  Mother? 

AUNT  MARCH.  Not  yet.  Tell  me,  do  you  mean 
to  marry  this  Cook? 

MEG.     Brooke. 

AUNT  MARCH.  If  you  do,  not  one  penny  of  my 
money  goes  to  you.  Remember  that. 

MEG.  (Standing  L.  of  table,  and  facing  the  old 
lady,  speaking  -with  unwonted  spirit)  I  shall  marry 
whom  I  please,  Aunt  March,  and  you  can  leave 
your  money  to  anyone  you  like. 

AUNT  MARCH.  (Tapping  her  cane  and  facing 
front)  Hoighty-toity !  (^LAURIE  enters,  unseen  by 
either  MEG  or  AUNT  MARCH,  sees  there  is  trouble, 
goes  up  the  stairs  in  about  two  or  three  bounds,  turns 
at  door  and  gives  mock  bow — exits)  Is  that  the 
way  you  take  my  advice,  Miss  ?  You'll  be  sorry  for 
it  by  and  by,  when  you've  tried  love  in  a  cottage  and 
found  it  a  failure. 


66  LITTLE  WOMEN 

MEG.  ( Still  ruffled)  It  can't  be  worse  than  some 
people  find  it  in  big  houses. 

AUNT  MARCH.  (Putting  on  her  glasses  and  tak- 
ing a  long  look  at^  MEG  before  she  speaks)  Now, 
Meg,  my  dear,  be  reasonable  and  take  my  advice. 
I  don't  want  you  to  spoil  your  whole  life  by  making 
a  mistake  in  the  beginning.  You  ought  to  marry 
well  and  help  your  family.  It's  your  duty  to  make 
a  rich  match,  and  it  ought  to  be  impressed  upon 
you. 

MEG.  Father  and  Mother  don't  think  so.  They 
like  John,  though  he  is  poor. 

AUNT  MARCH.  Your  parents,  my  dear,  have  no 
more  worldly  wisdom  than  two  babies. 

MEG.     I'm  glad  of  it. 

(FLASH  ORCH.) 

AUNT  MARCH.     This  Crooke 

MEG.     Brooke ! 

AUNT  MARCH.  Is  poor,  and  hasn't  got  any  rich 
relatives,  has  he? 

MEG.     No,  but  he  has  many  warm  friends. 

AUNT  MARCH.  (Snappishly)  You  can't  live  on 
them.  Try  it,  and  see  how  cool  they'll  grow.  He 
hasn't  any  business,  has  he  ? 

MEG.  Not  yet,  but  Mr.  Laurence  is  going  to  help 
him. 

AUNT  MARCH.  Huh,  that  won't  last  long.  So 
you  intend  to  marry  a  man  without  money,  position 
or  business,  and  go  on  working  harder  than  you  do 
now,  when  you  might  be  comfortable  all  your  days 
by  minding  me  and  doing  better.  I  thought  you  had 
more  sense,  Meg. 

(WARN) 

MEG.  (Realising  by  this  time  how  much  she 
loves  BROOKED  I  couldn't  do  better  if  I  waited 
half  my  life.  John  is  good  and  wise.  He  has 


LITTLE  WOMEN  67 

heaps  of  talent, — he's  willing  to  work  and  sure  to 
get  on,  he's  so  energetic  and  brave.  And  I'm 
proud  to  think  he  cares  for  me,  though  I  am  young 
and  silly. 

AUNT  MARCH.  He  knows  you've  got  rich  rela- 
tions, child. 

MEG.  (Stamping  her  foot  and  speaking  rapidly 
in  her  anger)  Aunt  March,  how  dare  you  say  such 
a  thing?  John  is  above  such  meanness,  and  I  won't 
listen  to  you  a  minute  if  you  talk  so.  My  John 
wouldn't  marry  for  money  any  more  than  I  would. 
I'm  not  afraid  of  being  poor,  for  I've  been  happy 
so  far,  and  I  know  I  shall  be  with  him,  because  he 
loves  me  and  I — I 

AUNT  MARCH.  (Rising  and  going  toward  door 
L.iJ  Well,  I  wash  my  hands  of  the  whole  affair. 
You  are  a  wilful  child  and  you  have  lost  more  than 

you  know  by  this  piece  of  folly (Movement 

of  MEG  toward  her)  No,  I  won't  stop!  I'm  dis- 
appointed in  you  and  haven't  spirit  to  see  your  father 
now.  Don't  expect  anything  from  me  when  you're 
married.  Your  Mr.  Crooke's  friends  must  take  care 
of  you.  I'm  done  with  you  forever. 

(She  exits,  slamming  door  behind  her.     MEG  goes 
upstage  by  window,  almost  ready  to  cry) 

BROOKE.  (Enters,  crosses  to  her)  I  couldn't 
help  hearing,  Meg.  Thank  you  for  defending  me, 
and  Aunt  March  for  proving  that  you  do  care  for 
me  a  little  bit. 

MEG.  I  didn't  know  how  much  till  she  abused 
you. 

BROOKE.  Then  I  needn't  go  away ;  but  stay  and 
be  happy,  dear? 

MEG.  (Hiding  face  on  BROOKE'S  shoulder)  Yes, 
John. 


68  LITTLE'  WOMEN 

(He  raises  her  face,  kisses  her.  She  gasps,  laughs 
and  ducks  under  his  arm  and  they  sit  together 
on  seat  under  stairway.  Jo  appears  on  stair- 
case with  LAURIE  in  her  train — they  peek  and 
listen.) 

Jo.  There !  she  has  had  it  out  with  Aunt  March, 
and  has  sent  Brooke  away. 

('LAURIE  sees  MEG  and  BROOKE,  gleefully  points  to 
them,  calling  Jo's  attention.  Jo  gasps  and  comes 
downstairs  flying.  BROOKE  looks  up,  he  and 
MEG  rise.) 

BROOKE.  Sister  Jo,  congratulate  us!  (Takes 
MEG  in  his  arms  again  and  kisses  her) 

Jo.  (Gives  funny  little  gasp,  rushes  to  study 
door,  throws  it  open  and  calls  out)  Father — Mother 
— somebody — come  quick !  John  Brooke  is  acting 
dreadfully — and  Meg  likes  it ! 

('LAURIE  stands  on  the  stairs  laughing  and  holding 
on  to  his  sides — MEG  and  BROOKE  are  together 
down  L. — Jo  just  turning  from  study  door — 
others  begin  to  appear  as  the 

CURTAIN 


(Curtain  right  up  quick  for  second  curtain.  Music — 
"Haste  to  the  Wedding" — played  very  quick 
and  forte  for  all  curtains.) 

(SECOND  PICTURE:  Family  all  on— Jo  right  of 
c.,  gasps  as  JOHN  kisses  her ;  tries  to  rub  it  off 
and  dashes  out  of  door  L.  as  family  laugh. 
LAURIE,  seeing,  is  convulsed,  and  slides  down- 
stairs.) 


LITTLE  WOMEN  69 

(THIRD  PICTURE:— Company.) 

(FOURTH  CURTAIN:  Entire  company  crosses 
stage  from  L.I.  to  R.I.  in  character  with  charac- 
teristic bow  to  audience  in  the  c.) 

ist.  HANNAH 

2nd.  MR.  LAURENCE 

3rd.  MR.  and  MRS.  MARCH 

4th.  BETH 

5th.  AMY 

6th.  LAURIE 

7th.  AUNT  MARCH 

8th.  MEG  and  BROOKE 

9th.  Jo. 

END  OF  SCENE  ONE 
2  minute  wait. 

SCENE  TWO 

SCENE  :     Same  as  Scene  One. 

TIME:     Six  months  later.    September,  1864.    Late 

afternoon. 
Music :     Curtain  up  on  "Lorelei." 

Lights  open  with  Light  Amber.    Medium  curtain. 

DISCOVERED:  Jo  writing  L.  of  table  c.,  ink  blot  on 
nose.  She  is  enveloped  in  a  big  black  apron 
and  wears  a  black  cap  with  a  flaming  red  bow 
on  top.  Jo,  in  fits  of  abstraction,  wipes  her  quill 
pen  upon  one  or  the  other,  and  jabs  it  almost 
viciously  in  the  ink.  Evidently  "Genius  is  burn- 
ing," and  she  is  absorbed  in  her  work. 


70  LITTLE  WOMEN 

MEG  sits  sewing  R.  of  table.     She  is  listening  to 
MARCH'S  voice  as  he  reads  aloud  in  the  study 


MARCH.  (Off)  "The  fat  boy  pointed  to  the  des- 
tination of  the  pies.  'Wery  good,'  said  Sam,  'stick 
a  bit  o'  Christmas  in  'em.  There  now,  we  look  com- 
pact and  com/ortable,  as  the  father  said  when  he  cut 
his  little  boy's  head  off  to  cure  him  o'  squintinV  " 

(Amid  a  burst  of  laughter  which  follows,  HANNAH 
enters  from  dining  room  and  goes  to  MEG.) 

HANNAH.  Miss  Meg,  come  quick !  Miss  Amy's 
hoppin'  around  the  woodshed  with  her  foot  in  some 
white  stuff — and  she  can't  git  it  out. 

AMY.  (Comes  hopping  on  from  dining  room 
with  the  pan  on  her  right  foot,  crying)  I  can't  get 
it  out — (Ad  lib.  Comes  to  R.C.  Jo  looks  up  and 
roars,  then  goes  on  with  her  writing) 

MEG.  (Rises  and  puts  down  her  work  impa- 
tiently) Oh,  dear,  Amy,  I  do  wish  you  would  leave 
plaster  modeling  alone. 

HANNAH.  Well,  she's  crazy  about  them  chiny 
figgers  she  calls  stattys.  (HANNAH,  MEG  and  AMY 
exit  into  dining  room  her  bare  leg  and  the  pan  stuck 
out  behind — as  she  hops  off  R.  3,  ad  lib  outside)  I 
can't  pull  her  foot  out  of  the  pan ! 

MEG.    Well,  try  now,  Hannah! 

(AMY  screams.  Jo,  •who  has  evidently  reached  the 
end  of  her  inspiration,  rises  and  stretches  her- 
self, casting  aside  apron  and  cap  on  desk  L., 
stretches  arms  over  her  head;  as  she  yawns  and 
shakes  herself,  enter  MARCH  and  BETH  from 
study;  MARCH  with  book  under  his  arm;  BETH 
with  a  little  basket  in  her  hand.) 


LITTLE  WOMEN  71 

Jo.     What — no  more  Pickwick? 

MARCH.  (Laying  book  on  mantel  at  fireplace, 
with  his  back  to  fire,  takes  off  spectacles  and  begins 
cleaning  them  with  handkerchief)  Not  for  the  pres- 
ent. I'm  read  out. 

BETH.  (Goes  to  Jo,  up  L.  near  desk)  Jo,  don't 
you  want  to  help  me  cut  the  sunflowers?  We  need 
the  seeds  to  feed  Aunt  Cockletop  and  her  family  of 
chicks. 

('MRS.  MARCH  comes  down  the  stairs.  She  is  wear- 
ing a  little  knitted  shawl  over  her  shoulders, 
which  she  takes  off  and  puts  on  BETH.J 

Jo.  I'll  be  glad  of  the  exercise  and — (Laughing) 
the  chance  to  cool  my  fevered  brain.  (Takes  off 
net  and  shakes  down  her  hair,  which  falls  loosely 
about  her  shoulders)  Besides,  I've  got  to  wait  and 
fill  up  my  idea  box  again. 

MRS.  MARCH.  (The  two  girls  exit,  laughing,  hall 
door.  MRS.  MARCH  takes  her  work  basket  from 
c.  table  and  goes  over  to  MARCH,  sitting  on  settee 
at  fireplace)  Father,  I  am  worried  about  Amy  and 
Laurie  and  Jo. 

MARCH.  Worried?  You  don't  think  that 
Amy ? 

MRS.  MARCH.  Mother's  eyes  are  keen,  dear,  and 
there  is  no  question  in  my  mind  that  Amy  cares  for 
Laurie  in  quite  another  way  than  he  does  for  her. 
He  loves  her,  of  course,  but  it's  entirely  the  big 
brother  attitude. 

MARCH.     And  Jo? 

MRS.  MARCH.  I've  sometimes  feared  Jo's  heart 
would  never  be  touched  with  a  real  romance. 

MARCH.  (Thoughtfully)  With  her,  brain  is  de- 
veloping before  heart. 

MRS.  MARCH.  (Smiling)  Yes;  she  prefers  imag- 
inary heroes  to  real  ones,  says  that  when  she  gets 


72  LITTLE  WOMEN 

tired  of  them  she  can  lock  them  up  in  the  old  tin 
kitchen  where  she  keeps  her  manuscripts.  And 
yet 

MARCH.  And  yet — —  (Sits  on  settee  R.  of  MRS. 
MARCH,  putting  arm  around  her)  What  else  have 
those  keen,  motherly  eyes  discovered? 

MRS.  MARCH.  Do  you  remember  how  interested 
Jo  was  in  that  elderly  Professor? 

MARCH.     (Looks  surprised)     Professor  Bhaer? 

MRS.  MARCH.  Well,  since  she's  been  teaching 
Mrs.  Kirk's  children,  she  has  seen  him  again.  He 
rooms  at  the  Kirks ;  he's  teaching  her  German,  and 
she  sews  on  his  buttons  and  darns  his  socks. 

MARCH.  (Smiling  and  shaking  his  head  in  a 
deprecating  way,  as  he  taps  his  wife's  cheek  gently) 
You  dear,  foolish  mother.  I  shouldn't  call  darning 
socks  a  love  symptom.  (Rises) 

MEG.  (Enters  downstairs,  dressed  for  walking) 
I'm  going  down  to  the  office  to  walk  up  with  John, 
Mother. 

MRS.  MARCH.  Very  well,  dear ;  bring  John  back 
to  tea. 

MEG.     (Goes  to  hall  door  L.iJ    Thanks,  Marmee. 

(Curtseys  and  exits  L.I.) 

Jo.  (Coming  in  from  dining  room,  her  hair  tidy 
again,  carrying  letter,  absorbed  and  pleased,  comes 
to  R.C.,  suddenly  becomes  aware  of  presence  of 
father  and  mother  and  gives  an  embarrassed  look) 
Ha — ha — Marmee,  you  said  I  might  ask  my  pro- 
fessor to  call  and  he's  coming  this  afternoon. 

fMR.  and  MRS.  MARCH  exchange  a  meaning  look, 
which  Jo  does  not  see — being  upstage  and  back 
of  table  to  chair  L.  Bus.  of  tucking  letter  into 
dress,  taking  apron  and  cap  from  chair  and 
throwing  them  in  closet  on  floor.  MARCH  shakes 


LITTLE  WOMEN  73 

his  head,  and,  chuckling  to  himself,  disappears 
into  the  study  R.I.  Jo  fixes  the  boiv  at  her  neck, 
comes  down  to  chair  L.  of  table  c.  and  takes  up 
her  pen.) 

MRS.  MARCH.  (Takes  up  her  sewing)  You  seem 
very  much  interested  in  the  professor,  Jo. 

Jo.  Well,  he  advised  me  to  study  simple,  true 
characters,  so  I  proceeded  to  study  him.  I  find  him 
a  great  puzzle.  He's  not  fascinating  or  brilliant, 
and  yet  people  gather  about  him  as  naturally  as 
about  a  genial  fire.  He's  poor,  yet  he  always  appears 
to  be  giving  something  away.  He's  a  stranger,  yet 
everyone's  his  friend.  He's  plain  and  peculiar  and 
I've  been  trying  to  discover  his  charm  and  I've  fi- 
nally decided  that  it's  a  benevolence  that  has  worked 
the  miracle.  (With  a  funny  little  laugh)  Why, 
Mother,  his  very  boots  are  benevolent. 

AMY.  (Enters,  wearing  MEG'S  dress  of  Act 
One  made  over)  Marmee,  may  I  wear  your  little 
pearl  pin  to  the  dance  to-night?  (Bus.  of  scratch- 
ing left  ankle  with  right  foot) 

MRS.  MARCH.  Surely,  dear,  it  is  simple  enough 
to  be  quite  appropriate  for  my  little  girl. 

Jo.     Where  are  you  going,  Amy? 

AMY.  Aunt  Curtis  has  asked  me  to  dine  there 
to-night,  and  she  will  take  Flo  and  me  to  Mamie 
Gardner's  dance. 

MRS.  MARCH.  What  are  you  going  to  wear, 
dear? 

AMY.  I've  covered  Flo's  old  white  silk  with  tarle- 
tan,  and  I  shall  loop  it  with  rosebuds. 

Jo.  (Disapprovingly)  Don't  see  why  you  want 
to  go  to  parties,  Amy,  and  truckle  to  a  parcel  of  girls 
who  don't  care  a  sixpence  for  you,  just  because  they 
wear  French  heels  and  ride  in  coupes. 

AMY.  (Indignantly)  I  don't  truckle,  and  I  hate 
being  patronized  as  much  as  you  do,  but  I  like  peo- 


74  LITTLE  WOMEN 

pie  and  mean  to  make  the  most  of  every  chance  I 
get. 

Jo.  Humph!  Mike  luxury,  but  I  prefer  inde- 
pendence. 

AMY.  (Ruffled  at  Jo's  insinuation)  Well,  you 
can  go  through  the  world  with  your  elbows  out  and 
your  nose  in  the  air  and  call  it  independence,  if  you 
like.  It's  not  my  way. 

MRS.  MARCH.  (Mildly)  Don't  squabble,  chil- 
dren. (AMY  turns  to  bay  window)  Amy — Amy — 
(On  second  "AMY" — AMY  comes  down  stage,  smil- 
ing) I  think  you  turned  Meg's  old  hat  into  a  really 
charming  creation. 

Jo.     Meg's  old  hat?    Isn't  it  a  new  one? 

AMY.  (Triumphantly)  Not  at  all.  It's  her  old 
one.  I  painted  it  with  water  colors,  and  her  boots 
to  match. 

Jo.  (Ashamed  of  her  recent  temper,  and  ready 
to  make  amends)  Amy,  it  certainly  is  a  great  com- 
fort to  have  an  "artistic"  sister.  (AMY,  mollified, 
goes  up  to  window  c.,  takes  up  drawing  board) 

(MEG  and  BROOKE  laugh  outside,  then  enter,  look- 
ing radiant.  BROOKE  places  hat  on  chair  below 
desk  L.  ;  MEG  places  hat  and  scarf  on  seat  under 
stairway.) 

MRS.  MARCH.    Well,  John? 

BROOKE.     Meg  and  I  have  been  house-hunting. 

(Jo  glares  at  him.) 

MRS.  MARCH.  Isn't  it  a  little  soon,  John,  when 
the  wedding  date  isn't  fixed  ? 

MEG.  (Goes  to  R.  of  c.  at  back)  We've  found 
such  a  dear  little  cottage,  Mother — the  Dove  Cote, 
John  calls  it. 


LITTLE  WOMEN  75 

Jo.  Mush!  (Disgusted,  jams  elbows  on  table 
and  her  chin  in  her  hands) 

MEG.     Will  you  go  with  us  to  see  it  to-morrow? 

MRS.  MARCH.  Why,  of  course  I  will.  John,  will 
you  stay  to  tea  ?  (Rises) 

BROOKE.  (Looks  at  Jo,  half-afraid — she  glares 
at  him)  Only  too  glad  of  the  chance,  ma'am. 

(MRS.  MARCH  exits  to  dining  room.) 

MEG.  (Sits  on  settee  L.  side  at  fireplace  with  a 
skein  of  worsted,  which  she  holds  out  to  BROOKED 
John,  wort't  you  hold  this  for  me,  please? 

(BROOKE,  without  a  word,  goes  to  table  c.,  to  se'aG 
himself  at  fireplace  R.  ;  he  and  MEG  become  ab- 
sorbed in  each  other.  Jo,  who  has  taken  up  a 
book,  looks  over  at  them — AMY,  sitting  at  back 
of  table  c.,  begins  sketching  them  and  nudges 
Jo  to  make  her  look  at  the  lovers.) 

Jo.  I  hate  levering.  (Sounds  of  a  gay  whistle 
'outside,  she  gives  a  sigh  of  satisfaction)  Toodles  is 
coming!  Now,  pe 
sible  conversation. 

AMY.  1  wish  you  wouldn't  call  Laurie  Toodles, 
Jo.  It  isn't  dignified. 

(Enter  LAURIE,  carrying  brown  parcel;  goes  over 
to  MEG  as  soon  as  he  spies  her  and  presents  it 
with  sweeping  bow.) 

Jo.    Teddy! 

(LAURIE  ignores  Jo.) 

LAURIE.  For  Mrs.  John  Brooke !  (Places  parcel 
in  her  lap) 


76  LITTLE  WOMEN 

MEG.     Oh,  Laurie 

LAURIE,  With  the  maker's  compliments  and  con- 
gratulations. Any  time,  when  John  is  away  and 
you  get  frightened,  Mrs.  Meg — (Takes  rattle  which 
MEG  has  undone) — just  swing  this  out  of  the  front 
window,  and  it  will  rouse  the  neighborhood  in  a 
jiffy.  (It  is  a  mammoth  rattle,  and,  as  LAURIE  fin- 
ishes, he  takes  it  from  MEG  and  gives  a  sample  of 
its  power,  that  makes  them  cover  their  ears — then 
he  hands  the  rattle  back  to  MEG,  who  laughs  so  that 
she  cannot  thank  him.  He  falls  into  an  attitude  of 
•mock  devotion  before  AMY)  Amy,  you  are  getting 
altogether  too  handsome  for  a  single  lady.  I  shall 
warn  grandpa. 

(Goes  to  AMY  at  back  of  table  c.) 

AMY.  (Nettled)  Don't  be  absurd,  Laurie.  Will 
you  ever  grow  up? 

LAURIE.  I'm  doing  my  best,  ma'am — but  six  feet 
is  about  all  a  man  can  do  in  these  degenerate  days. 
(Looks  over  at  BROOKE  and  MEG,  who  are  again 
absorbed)  Oh,  gaze  upon  the  happy  lovers ! 

AMY.  Aren't  they  radiant  ?  I  want  to  paint  Meg 
in  her  wedding  gown,  the  first  bride  in  the  March 
family. 

(Jo,  evidently  disgusted  at  the  talk  about  lovers, 
grabs  up  her  writing  desk  and  goes  to  desk  L., 
slamming  small  writing  case  down  on  desk  L. 
sits.) 

LAURIE.  Old  Brooke  has  asked  me  to  the  wed- 
ding, and  I  accepted  on  the  spot.  Told  him  I'd  come 
if  I  were  at  the  end  of  the  earth,  for  the  sight  of 
Jo's  face  on  that  occasion  would  be  worth  a  long 
journey. 

AMY.  (Has  risen  as  he  spoke — puts  drawing 
board  on  small  table  at  back,  starts  to  go  upstairs) 


LITTLE  WOMEN  77 

Yes,  wouldn't  it?  I  must  dress  or  I  shall  be  late. 
(Exits) 

LAURIE.  (At  newel  post  L.,  evidently  in  teasing 
mood — looks  at  MEG  and  JOHN,  then  goes  over  to 
]o)  You  don't  look  festive,  ma'am,  what's  the 
matter  ? 

Jo.  I  don't  approve  of  the  match.  You  can't 
know  how  hard  it  is  for  me  to  give  up  Meg. 

LAURIE.  (Going  to  her  consolingly)  You  don't 
give  her  up.  You  only  go  halves. 

Jo.     I've  lost  my  dearest  friend. 

LAURIE.  You've  got  me,  anyhow,  and  I'll  stand 
by  you,  Jo,  all  the  days  of  my  life.  (Holds  out 
hand) 

Jo.  (Shaking  hands  with  him)  I  know  you  will. 
You're  always  such  a  comfort  to  me,  Teddy. 

LAURIE.  Well,  now,  don't  be  dismal,  there's  a 
good  fellow.  It'll  be  very  jolly  to  see  Mrs.  Meg  in 
her  own  little  home;  but,  oh,  I  say,  Jo,  that  little 
Parker  is  getting  desperate  about  Amy. 

Jo.     (Aghast)     About  Amy? 

LAURIE.  Yes.  He  writes  poetry  about  her  and 
all  that  sort  of  thing.  We'd  better  nip  his  little  pas- 
sion in  the  bud,  hadn't  we  ? 

Jo.  (Startled)  Of  course  we  had.  The  idea! 
We  don't  want  any  more  marrying  in  this  family 
for  years  to  come.  Mercy  on  us,  what  are  the  chil- 
dren thinking  about? 

LAURIE.  (Chuckling)  It's  a  fast  age,  and  I  don't 
know  what  we  are  coming  to,  ma'am.  You're  a  mere 
infant,  but  you'll  go  next,  Jo. 

Jo.  Don't  be  alarmed.  There  should  always  be 
one  old  maid  in  the  family — and  I'm  it!  ('LAURIE 
laughs — Jo's  tone  changes)  I  think  it's  dreadful  to 

break  up  families  so (Bell  rings  and  Jo  starts 

for  L.  door,  consciously)  Let's  change  the  subject. 

LAURIE.     (Meaningly)    You'll  go  next. 


78  LITTLE  WOMEN 

(MEG  and  JOHN,  hearing  bell,  quietly  exit  to  study, 
bus. — MEG  dragging  him  off  with  yarn.  Enter 
HANNAH,  starts  to  answer  door.) 

Jo.  (With  hand  on  the  knob,  turns  to  HANNAH  ) 
I'll  open  the  door,  Hannah.  Please  tell  father  and 
mother  that  the  Professor  is  here. 

HANNAH.  (Turning  to  exit  to  dining  room,  sees 
MRS.  MARCH  entering  from  dining  room,  goes  into 
dining  room,  speaking  as  she  goes)  Someone  to  see 
Miss  Jo,  ma'am. 

( A  moment  later  MARCH,  smiling,  steps  softly  out 
of  study,  as  if  leaving  field  free  for  the  lovers — 
MR.  and  MRS.  MARCH  R.C.  LAURIE  is  up  stage 
a  little  L.C.; 

Jo.  (Outside)  Oh,  Mr.  Bhaer,  I  am  so  glad  to 
see  you. 

BHAER.  (Outside)  And  I  to  see  you,  Mees 

Marsche (They  reach  the  doorway  together, 

Jo  leading  the  way)  But  no,  you  haf  a  party? 

(Jo  enters  first,  takes  PROFESSOR'S  silk  hat  and  puts 
it  on  chair  L.  ;  BHAER  stops  just  inside  room  as 
he  sees  others.) 

Jo.  No,  we  haven't — only  the  family.  Come  in 
and  make  one  of  us. 

(Ready  electrician  to  light  small  piece  of  paper  in 
fireplace.) 

BHAER.  If  I  should  not  be  Monsieur  De  Trop, 
I  will  gladly  see  them  all. 

Jo.  Father — Mother — this  is  my  friend,  Profes- 
sor Bhaer. 


LITTLE  WOMEN  79 

goes  c. — MRS.  MARCH  goes  to  him,  greets 
and  shakes  hands  with  him;  then  MARCH  goes, 
same  bus.  MR.  MARCH  and  MRS.  MARCH  stand 
L.  and  R.  of  table  c.  Cordial  greeting  from  all 
but  LAURIE,  who  stands  aloof.  Jo,  noting  this, 
turns  to  him.) 

BHAER.  I  am  glad  to  meet  you.  (Turning  to 
Jo,  L.J  This  is  your  friend  of  whom  you  speak? 

Jo.     Yes,  my  boy  Teddy.    I'm  very  proud  of  him. 

LAURIE.  (L.)  Oh,  come  now,  Jo,  don't  speak 
as  if  I  were  a  lap-dog  or  Beth's  kitten.  (Evidently 
trying  to  put  aside  his  annoyance,  turns  toward 
BHAER,  with  his  usual  charming  manner)  I'm  glad 
to  meet  you,  Professor  Bhaer.  Please  remember 
there's  always  a  welcome  for  you  over  the  way. 
(Indicating  the  LAURENCE  home  with  a  gesture  of 
his  head  toward  the  window.) 

(READY  LIGHTS.) 

BHAER.  T'ank  you,  sir.  It  will  gif  me  pleasure 
to  come. 

BROOKE.  (Calling  from  study)  Laurie,  come 
here  a  minute,  will  you  ? 

(Excusing  himself,  LAURIE  exits  to  study  R.I.E.J 

MARCH.  (Placing  chair  R.  of  table  c.)  Won't 
you  sit  down? 

MRS.  MARCH.  (Going  to  sofa  at  fireplace  and 
picking  up  rattle  and  arranging  sofa)  No — here, 
Professor. 

f BHAER  sits  on  sofa  and  MRS.  MARCH  on  stool  at 
lower  end  of  fireplace.) 

MARCH.  My  daughter  is  much  interested  in 
your  German  translations  of  Shakespeare,  sir. 


8o  LITTLE  WOMEN 

(Sitting  in  chair  R.  of  c.  table,  which  he  placed  up 
stage  a  bit — Jo  sits  L.  of  table  c.) 

BHAER.  Is  it  so? '"  Mees  Marsche,  she  say  often 
she  wish  a  library.  I  tell  her  to  read  him  well  and 
he  will  help  her  much ;  for  the  study  of  character 
will  aid  her  to  read  it  in  the  world  and  paint  it  with 
her  pen.  I  want  my  people  to  know  him  as  I  know 
him,  so — (Hesitates,  then  in  German) — Ich  Ver- 
suchte.  I  make  try  to  put  him  into  the  German 
tongue. 

MARCH.  (Much  interested)  It's  like  trying  to 
put  Schiller  into  English,  I  fancy,  and  quite  as  dif- 
ficult. 

BHAER.  (Hesitates,  trying  to  think  of  English) 
Herr  Marsche,  that  reminds  me,  Mees  Marsche,  she 
tell  me  how  you  luf  my  Schiller,  and  so — ich  war 
so  frei — so  I  make  so  bold  as  to  bring  my  copy  for 
you  to  see.  (Takes  book  from  pocket;  done  up  in 
one  of  the  old-fashioned,  luridly  illustrated  papers 
— "The  Spread  Eagle''  or  "Fireside  Companion," 
in  black  and  white,  not  comic  supplement,  as  they 
were  not  in  existence  at  the  time.  At  sight  of  the 
paper,  BHAER  strips  it  from  the  book,  frowning) 
Ach,  one  of  those  sensation  papers  with  their  horrid 
pictures.  I  am  short-sighted,  sir.  I  did  not  see 
him.  The  Spread  Eagle,  a  family  story  paper. 
These  papers  are  not  for  young  people  to  read.  I 
haf  no  patience  with  those  who  make  this  harm. 

MARCH.  You  are  right  to  put  the  paper  from 
you.  Young  people  should  not  see  such  things. 

(Looks  at  Jo,  quietly  enjoying  her  discomfiture.) 

BHAER.  I  would  more  rather  gif  a  child  of  mine 
gunpowder  to  play  with  than  this  bad  trash. 

Jo.     All  may  not  be  bad,  only  silly;  and  if  there 


LITTLE  WOMEN  8r 

is  a  demand  for  it,  I  don't  see  any  harm  in  supply- 
ing it.  Many  very  respectable  people  make  an  hon- 
est living1  out  of  what  are  called  sensational  stories. 

(MARCH  catches  Jo's  eye,  smiles — she  turns  away.) 

BHAER.  (Vehemently)  There  is  a  demand  for 
whiskey,  but  I  think  you  and  I  do  not  care  to  sell 
it.  If  the  respectable  people  knew  what  harm  they 
did,  they  would  not  think  their  living  honest.  They 
haf  no  right  to  put  poison  in  the  sugar  plum  and  let 
the  small  ones  eat  it.  And  the  people  who  write 
these  stories  are  not  only  men,  but  women  I  grief 
to  say,  for  in  so  doing  they  desecrate  their  most 
womanliest  nature.  For  to  lif  with  thieves,  mur- 
derers and  criminals,  even  dough  it  is  only  in  imagi- 
nation, it  is  to  lif  in  bad  company. 

(Tearing  up  the  paper — throws  it  into  fireplace^ ' 
taking  care  to  throw  it  over  grate  onto  floor  be- 
hind. Electrician  lights  small  piece  of  paper  in 
grate.  MARCH  looking  on,  evidently  amused  at 
the  way  Jo  has  taken  her  lesson.  Jo  looks  un- 
comfortable. MRS.  MARCH,  bending  over  her 
work,  is  smiling.) 

And  I  should  like  to  send  all  the  rest  after  him. 
(Rams  the  last  vestige  of  the  paper  into  grate  with 
poker)  My  apologies  to  you  and — (with  a  little 
whimsical  smile) — to  Schiller!  (Looking  at  them 
all — going  R.cJ 

MARCH.  (Rising  and  meeting  BHAER  R.cJ  I 
shall  enjoy  your  Schiller,  sir,  very  much — thank 
you. 

MRS.  MARCH.  Professor,  will  you  not  stay  to  tea 
and  meet  the  rest  of  the  family  ?  We  should  so  like 
to  have  you. 

BHAER.    Ach,  I  am  sorrowful  I  must  say  no. 


82  LITTLE  WOMEN 

(M.RS.  MARCH  rises)  And  take  myself  quickly  away 
from  this  so  pleasant  home,  but  after  I  tell  Mees 
Marsche  that  I  do  myself  the  pleasure  to  call  this 
evening,  a  message  fpr  me  come  that  I  must  heed. 

(Jo  rises.) 

MRS.  MARCH.  I  am  sorry,  perhaps  another  time 
you  will  stay. 

BHAER.  (Taking  her  hand  as  he  speaks)  I  shall 
so  gladly  come  again  if  you  gif  me  leaf,  dear 
Madame. 

MRS.  MARCH.  (Cordially)  We  shall  always  be 
glad  to  see  you,  Professor  Bhaer.  Good  night. 

BHAER.  Good  night,  Madame — good  night,  sir. 
— (Turning  to  MARCH,  then  goes  to  c.  in  front  of 
table  c.,  turns  to  them  again  and  says) — Good  night, 
good  night,  my  friend.  (Very  impressive  in  his 
manner  to  JoJ 

Jo.  Good  night,  Professor  Bhaer.  (She  picks  up 
his  hat,  as  he  starts  to  go,  forgetting  it)  Professor 

Bhaer (She  goes  with  him  to  door)  Good 

night,  sir. 

(Gives  BHAER  his  hat.  As  Jo  hands  hat  to  BHAER, 
he,  being  nearsighted,  looks  closely  to  see  what 
it  is — puts  hand  to  head,  etc.,  then  with  a  smile, 
says  quickly) 

BHAER.    Good  night.    (Exits) 

(Jo  stands  with  back  to  door,  embarrassed,  looking 
at  father  and  mother.  MR.  and  MRS.  MARCH 
have  exchanged  meaning  glances.) 

MARCH.     I  suspect  that  is  a  wise  man. 
MRS.  MARCH.     And  I  think  he  is  a  good  one. 
(Starting  toward  dining  room) 


LITTLE  WOMEN  83 

Jo.     I  knew  you  would  like  him. 

(Going  R.  at  back  of  chair  R.  of  table  c.,  and 
pushes  chair  downstage  for  father.  MARCH 
sits  in  chair  R.  of  table  c.,  takes  out  spectacles, 
preparing  to  read  Schiller.) 

MRS.  MARCH.  I  must  see  Hannah  about  tea,  and 

Father (Gets  MARCH  his  hat  from  dining  room 

then  comes  downstage)  Do  you  remember  you 
promised  to  call  on  Aunt  March  to-day  ? 

MARCH.  (A  little  disappointed)  Oh,  yes,  I'll  go 
directly,  Mother. 

(Puts  book  on  table  and  exits\  to  hall  L.I.E.    Exit 
MRS.  MARCH  to  dining  room.) 

Jo.  (Speaking  to  herself — picks  up  the  Schiller) 
How  nice — Mr.  Bhaer  looked — so  trim  and  neat — 
dear  old  fellow,  he  couldn't  have  gotten  himself  up 
with  more  care  if  he'd  been  going  a- wooing. 

(Sits  at  R.  of  table  c.,  seems  confused  at  her  own 
suggestion — puts  book  down  as  LAURIE  enters 
from  study,  closing  door  behind  him.) 

LAURIE.  Everybody  gone?  I'm  glad — (Goes  to 
Jo — tenderly)  for  I  want  to  say  something  I've 
wanted  to  say  for  a  long  time. 

Jo.  (Putting  out  her  hands  imploringly)  No, 
Teddy ;  please  don't.  (R.  of  table  c.) 

LAURIE.  (Determined)  It's  no  use,  Jo;  we've 
got  to  have  it  out,  and  the  sooner  the  better  for  both 
of  us. 

Jo.  (Sighing)  Say  what  you  like,  then — I'll  lis- 
ten. 

LAURIE.  I've  loved  you  ever  since  I've  known 
you,  Jo;  couldn't  help  it.  You've  been  so  good  to 
me.  I've  tried  to  show  it,  but  you  wouldn't  let  me. 


84  LITTLE  WOMEN 

Now  I'm  going  to  make  you  hear,  and  give  me  your 
answer,  for  I  can't  go  on  like  this  any  longer. 

Jo.  I  wanted  to  save  you  this.  I  thought  you'd 
understand 

LAURIE.  I  know  you  did,  but  girls  are  so  queer 
you  never  know  what  they  mean.  They  say  no 
•when  they  mean  yes,  and  drive  a  man  out  of  his 
wits  just  for  the  fun  of  it. 

Jo.  I  don't.  I  never  wanted  you  to  care  for  me, 
so,  and  I've  tried  to  keep  you  from  it. 

LAURIE.  I  thought  so,  but  it  was  no  use.  I  only 
loved  you  all  the  more — and  I've  waited  and  never 
complained,  for  I  hoped  you'd  love  me,  although  I'm 

not  half  good  enough (His  voice  breaks  as  he 

leaves  the  sentence  unfinished) 

Jo.  (Tenderly)  Yes,  you  are — you're — you're 
a  great  deal  too  good  for  me,  and  I'm  so  proud  and 
fond  of  you,  I  don't  see  why  I  can't  love  you  as  you 
want  me  to.  I've  tried,  but  I  can't  change  the  feel- 
ing, and  it  would  be  a  lie  to  say  I  do  when  I  don't. 

LAURIE.  (Grasping  both  her  hands  over  R.  arm 
of  chair)  Really  truly,  Jo  ? 

Jo.  (Regretfully)  Really  truly,  dear.  (LAURIE 
drops  her  hands,  turns  away  and  hides  his  face  on 
the  mantel-shelf,  resting  it  on  his  arm.  Jo  goes 
over  remorsefully  and  pats  him  on  the  shoulder) 
Oh,  Teddy,  I'm  so  sorry !  I'm  so  desperately  sorry, 
I  could  kill  myself,  if  it  would  do  any  good.  I  wish 
you  wouldn't  take  it  so  hard.  I  can't  help  it.  You 
know  it's  impossible  for  people  to  make  themselves 
love  other  people  if  they  don't. 

LAURIE.  (His  face  still  hidden,  voice  muffled) 
They  do  sometimes. 

Jo.  (Backing  away  from  LAURIE,)  I  don't  be- 
lieve it's  the  right  sort  of  love,  and  I'd  rather  not  try 
it.  (A  pause — while  Jo  stands  at  c.  table — LAURIE 


LITTLE  WOMEN  85 

does  not  raise  his  head)  Laurie,  I  want  to  tell  you 
something. 

LAURIE.  (Starting  up  quickly,  and  speaking 
harshly)  Don't  tell  me  that,  Jo ;  I  can't  bear  it 
now. 

Jo.     (Surprised)    Tell  you  what? 

LAURIE.  (Fiercely)  That  you  love  that  old 
man. 

Jo.    What  old  man  ? 

LAURIE.  (R.C.)  That  devilish  old  professor  you 
are  always  writing  and  talking  about.  If  you  say 
you  love  him (Clenching  his  hands) 

Jo.  (In  front  of  table  c.)  Teddy  Laurence,  I 
never  thought  of  such  a  thing !  He's  good  and  kind, 
and  the  best  friend  I've  got — ^LAURIE  makes  excla- 
mation) next  to  you.  He  isn't  old  or — or — devilish 
— and  I  know  I  shall  get  angry  if  you  abuse  my  pro- 
fessor. 

LAURIE.    There — I  told  you ! 

Jo.  I  haven't  the  least  idea  of  falling  in  love 
with  him — or  anybody  else. 

LAURIE.  But  you  will  after  a  while,  and  then 
what  will  become  of  me?  (Turns  front) 

Jo.  You'll  love  someone  else,  too,  and  forget  all 
this  trouble. 

LAURIE.  (Stamping  his  foot  to  emphasise  his 
words)  I  can't  love  anyone  else,  and  I'll  never  for- 
get you,  Jo — never! 

Jo.  Teddy,  do  be  reasonable,  and  take  a  sensible 
view  of  the  case. 

LAURIE.  I  won't  be  reasonable (Turns  R.  a 

'bit)  I  don't  want  to  take  what  you  call  a  sensible 
view,  it  won't  help  me  and  it  only  makes  you  harder. 
I  don't  believe  you've  got  any  heart. 

Jo.  (Turning,  her  voice  quivering)  I  wish  I 
hadn't 

LAURIE.  (Seeing  his  advantage,  putting  his  arm- 
around  her  and  saying  in  his  most  wheedlesome  tone) 


86  LITTLE  WOMEN 

Don't  disappoint  us,  dear;  everyone  expects  it. 
Grandpa  has  set  his  heart  upon  it ;  your  people  like 
it,  and  I  can't  get  on  without  you.  Say  you  will 
and  let's  be  happy.  Ah — do — do! 

Jo.  (In  front  of  c.  table,  shaking  her  head  sadly) 
I  can't  say  yes,  truly,  so  I  won't  say  it  at  all.  ('LAU- 
RIE moves  away  R.J  You'll  see  that  I'm  right  by- 
and-by  and  thank  me  for  it. 

LAURIE.     (Indignantly)     I'll  be  hanged  if  I  do. 

Jo.  Yes,  you  will.  You'll  get  over  this  after  a 
while  and  find  some  nice,  accomplished  girl,  who 
will  adore  you  and  make  a  fine  mistress  of  your  fine 

house (Movement  of  dissent  from  LAURIEJ 

I  shouldn't.  I'm  homely  and  awkward  and  odd  and 
Old,  and  you'd  be  ashamed  of  me.  And  I  shouldn't 
like  elegant  society,  and  you  would,  and  you'd  hate 
my  scribbling,  and  I  couldn't  get  on  without  it,  and 
we  should  be  unhappy  and — and — wish  we  hadn't 
done  it. 

LAURIE.    Anything  more? 

Jo.  No — nothing  more,  except  that  I  don't  be- 
lieve I  shall  ever  marry.  I  love  my  liberty  too  well 
to  be  in  a  hurry  to  give  it  up  for  any  mortal  man. 

LAURIE.  (Turning  to  go)  You'll  be  sorry  some 
day,  Jo.  (Rushes  across  to  L.I.) 

Jo.     (Frightened)     Oh,  where  are  you  going? 

LAURIE.  (To  the  door  by  this  time)  To  the 
devil ! 

(WARN  CURTAIN.) 

(]o  follows  LAURIE  to  about  L.C.  MRS.  MARCH, 
who  has  entered  quietly  by  dining-room  door, 
speaking  as  she  comes.) 

MRS.   MARCH.     (To   LAURIE,  who  is  at  door) 

Laurie,   will  you   ask  your  grandfather (Jo 

turns  and  crosses  at  back  to  dining  room.  MRS. 
MARCH  grasps  the  situation.  Going  to  LAURIE  at 


LITTLE  WOMEN  87 

'door  L.IV  then  seeing  that  Jo  has  gone,  puts  a  moth- 
erly, sympathetic  hand  on  his  arm)  My  dear,  dear 
boy.  I  know.  Be  patient.  Jo  is  right.  It  is  better 
this  way,  I  am  sure. 

LAURIE.  (Heartbroken)  I  don't  want  the  beau- 
tiful, accomplished  girl  she  talks  about.  I  want 
Jo- 

MRS.  MARCH.  I  know,  dear,  but  the  hurt  will 
heal,  and  some  time  you  will  find  just  the  right 

AMY.  (Calling  from  stairway,  her  voice  floating 
down  before  she  appears)  Laurie,  are  you  there 
yet  ?  (MRS.  MARCH  crosses  n.) 

(She  comes  down  stairway,  clad  all  in  white,  a  balR 
gown,  decollete;  shoulders  framed  in  rosebuds 
and  bunches  of  the  buds  on  her  gown;  one  arm 
gloved;  a  pale  blue  scarf  thrown  over  he? 
golden  head,  carries  old-fashioned  bouquet  in 
white  paper  holder.) 

LAURIE.  (Pulling  himself  together,  quickly) 
Yes,  I  was  just  going. 

AMY.  (Down  to  LAURIE  L.,  holds  out  one  arm 
for  him  to  button  glove)  Please!  (Bus. — LAURIE 
bends  to  fasten  her  glove,  MRS.  MARCH  smiling, 
looking  on)  Thank  you.  Wilt  see  me  to  my  coach, 
Sir  Knight?  (LAURIE  smiles,  takes  her  hand  and 
passes  her  in  front  of  him  so  that  they  are  in  the 
doorway)  Good  night,  Marmee. 

MRS.  MARCH.     (Tenderly)    Good  night,  children. 

LAURIE.  (Squaring  his  shoulders  and  offering 
AMY  his  arm)  Good  night,  Mother,  I'll  look  after 
Amy.  (They  exit  together,  AMY  first.  Jo,  who  has 
been  standing  in  the  dining-room,  door  watching  this 
little  scene,  not  seen  by  the  others,  watches  them  go. 
MRS.  MARCH,  as  if  well  pleased  with  the  turn  of 
events,  e.vits  R.I.E.  to  study.  Jo  comes  forward; 
stands  back  of  table  c.  looking  at  the  door  through 


88  LITTLE  WOMEN 

which  LAURIE  and  AMY  passed.  There  is  the  sound 
of  laughter.  LAURIE  speaks  off)  No,  Amy,  I  won't 
be  late. 

(Jo's  hand  falls  on  BHAER'S  Schiller  lying  on  the- 
table.  She  takes  it  up,  looks  at  it  tenderly  and 
holds  it  against  her  breast.) 

Music:    Curtain  down.    Rubinstein  Song:  "Du 
Bist  Wie  Eine  Blume" 

OF  SCENE  :    22  minutes. 

MEDIUM  CURTAIN 


ACT  THREE 


TIME  :    Two  and  a  half  years  later.    'Afternoon. 

LIGHTS  :    Less  than  Act  I  and  II.    Medium  curtain. 

DISCOVERED:  HANNAH,  sweeping  and  putting  the 
rooms  to  rights,  working,  sweeping,  etc.,  at  door- 
way L.  ;  shakes  mat  in  entry  way;  puts  broom, 
dustpan,  and  cloth  in  entry  way,  goes  to  the 
foot  of  stairs,  listens  and  smiles  mysteriously 
when  AMY  enters  from  the  study. 

FOR  RISE:  Music.  Settee  is  off.  Wing  chair  is 
back  at  fireplace.  Big,  old-fashioned  hair-cloth 
sofa  in  window  center,  with  crotcheted  afghan 
on  it. 

Baby  spot — R.I. 
Amber  Bunch  L.I. 

AMY.  (Enter  R.I.,  going  to  HANNAH  at  stair- 
way) Hannah !  Beth  is  asleep  and  I  can't  wait 
any  longer  to  see  Meg.  Is  mother  upstairs  ? 

HANNAH.  (Chuckling)  Ah,  sure  they're  all  up- 
stairs. A  warshipin'  at  the  cradle  and  Miss  Meg  as 
happy  as  a  queen. 

AMY.  Oh,  Hannah,  isn't  it  beautiful?  What  do 
you  suppose  Laurie  will  say  when  he  comes  home? 

HANNAH.  Sure  it's  a  mercy  Misther  Laurie 
wazzant  here  when  it  happened.  We  didn't  want 
no  hurrycanes  around.  I  must  go  see  about  my  din- 
ner. (Starts  towards  dining-room  door) 

AMY.  (At  table,  up  near  window)  Have  every- 
thing very  nice,  Hannah. 

HANNAH.  Oh,  yis.  But  me  mind  is  that  flus- 
89 


90  LITTLE  WOMEN 

tered  with  Miss  Meg  it'll  be  a  merrycle  if  I  don't 
roast  the  pudding  and  stuff  the  turkey  with  raisins, 
let  alone  a  boilin'  of  him  in  a  cloth.  (Exit  R-3E.J 

AMY.  (Leaning  against  the  banister  L.  Look- 
ing expectantly  upstairs,  with  a  smile)  Think  of 
Meg  as  a  mother — and  Marmee  a  grandmother! 
(Smiling  proudly)  And  I'm  an  aunt — Aunt  Amy! 
(Turning  and  walking  proudly  downstage  L.C. — 
MRS.  MARCH  enters  softly  downstairs)  Oh,  Mar- 
mee !  (Laughing  and  making  profound  bow)  I 
beg  your  pardon,  Grandma  March.  (Backing  down- 
stage in  front  of  stairway  toward  desk  L .) 

MRS.  MARCH.  (Smiling,  goes  Rj  John  was  the 
first  to  call  me  that.  It  doesn't  seem  but  yesterday 
since  Meg  was  married. 

AMY.  Yet,  it's  more  than  two  years.  Oh,  Mar- 
mee, mayn't  I  go  up  now? 

MRS.  MARCH.  Yes,  dear.  /AMY  starts  up  with  a 

rush,  stops  R.cJ  But  gently (AMY  tiptoes  the 

rest  of  the  way  and  exits)  Remember  the  little 
mother  is  resting  in  the  next  room.  MRS.  MARCH 
crosses  and  looks  into  study  anxiously,  smiles,  closes 
door  and  turns  as  MR.  LAURENCE  enters  L.I.E.) 

MR.  LAURENCE.  (Comes  c.,  hat  in  hand,  smiling) 
Good  morning,  Madame;  this  is  a  happy  household 
to-day. 

MRS.  MARCH.  Yes ;  we  are  very  happy  and  very 
thankful. 

MR.  LAURENCE.  John  was  over  early  to  tell  us 
the  good  news. 

MRS.  MARCH.  It  was  an  anxious  night,  but  joy 
came  with  the  morning. 

MR.  LAURENCE.  Is  Jo  going  with  me  to  the  sta- 
tion to  meet  my  boy  Laurie  ? 

MRS.  MARCH.  She  isn't  back  from  Aunt  March's 
yet,  but  if  she  is  too  late,  please  remember  she's 
asked  to  be  the  first  to  tell  Laurie  about  Meg,  so 
don't  even  hint. 


LITTLE  WOMEN  91 

MR.  LAURENCE.  Not  a  hint,  ma'am.  But  it  can't 
be  a  complete  surprise,  you  know.  How  is  Beth? 

MRS.  MARCH.     She  is  asleep  in  the  study. 

MR.  MARCH.  (Enters  down  the  stairs,  very 
proud,  comedy  strut,  coming  down  L.c.J  Good 
morning. 

MR.  LAURENCE.  Good  morning,  sir (Shak- 
ing hands)  This  should  be  the  proudest  day  of 
your  life 

MR.  MARCH.     (Smiling)    I  think  it  is. 

MR.  LAURENCE.  (Going  to  L.I.J  Laurie  and  I 
should  be  back  in  half  an  hour.  Tell  Miss  Jo  I 
promise  secrecy. 

'(Exit  L.I.E.  MR.  MARCH,  closes  door  after  him; 
turns  and  looks  upstairs  where  MEG  and  babies 
are.  MRS.  MARCH  does  same.  Then  MR. 
MARCH  holds  out  his  arms  to  MRS.  MARCH  and 
she  comes  into  them — embrace  and  kiss.) 

MR.  MARCH.     Mother! 

MRS.  MARCH.     Father! 

MR.  MARCH.  Meg  and  John  are  like  two  chil- 
dren with  a  new  toy ;  and  Amy,  bless  her,  hovers 
over  the  cradle  like  a  golden-haired  Madonna. 

MRS.  MARCH.  (Going  to  front  of  stairway)  She 
will  get  her  model  from  life  now,  dear  little  girl.  I 
presume  she  has  started  a  sketch  already. 

MR.  MARCH.  Well,  when  I  came  down  it  wasn't 
art,  but  finery.  (Starts  to  go  R.j  She  and  Meg 
were  discussing  some  problem  about  ribbons  and 
poor  John  seemed  helpless. 

(Going  R.  to  mantel.) 

MRS.  MARCH.  Imagine  poor  John  knowing  any- 
thing about  ribbons. 


92  LITTLE  WOMEN 

(Starts  up  staircase,  MR.  MARCH  at  mantel,  takes 
up  letters  and  wrapped  book,  etc.) 

Jo.  (Enters  L.I.E./  breathless — taking  off  things) 
I  ran  all  the  way  from  Aunt  March's.  She's  as 
proud  as  a  peacock  and  tries  not  to  show  it,  snort- 
ing and  scolding  one  minute  and  asking  questions  the 
next.  I  know  I  am  too  late  to  meet  Teddy ! 

MRS.  MARCH.  Yes;  Mr.  Laurence  left  here  a 
few  minutes  ago. 

(Exits  upstairs  and  Jo  takes  off  her  things  during 
the  preceding  speeches  and  puts  them  on  small 
seat  under  stairway — sits  L.  of  table  c.) 

MR.  MARCH.  (Going  to  R.  of  table  c.)  Jo,  this 
looks  like  a  book  for  you!  (Hands  her  package — 
then  sits  R.  of  table  c.,  takes  out  spectacles,  prepar- 
ing to  read  letters) 

Jo.  For  me?  (Undoing  parcel)  Father — it's 
Professor  Bhaer's  English  translation  of  Schiller — 
author's  copy — autographed — and  with  an  inscrip- 
tion in  his  own  hand-writing.  (Looking  conscious 
as  she  studies  it  closely) 

MARCH.     Oh,  what  has  he  written? 

Jo.  Why,  Father,  the  dear  old  fellow  has  ac- 
tually credited  me  with  being  his  inspiration. 

('AMY  enters  on  stairs,  almost  running,  so  eager  to 
start  her  Madonna.  Jo  and  MR.  MARCH  laugh 
quietly.  AMY  goes  to  sofa  in  window  c.  and  be- 
gins sketching.) 

MR.  MARCH.     Perhaps  you  were  his  inspiration, 

Jo. 

Jo.  Much  more  likely  that  he's  been  mine,  for 
he's  made  me  ashamed  of  writing  trash. 

MR.  MARCH.    I  wish  that  philosophy  paid  better 


LITTLE  WOMEN  93 

in  this  money-loving  world  and  then  my  girl 
wouldn't  have  to  be  writing  lurid  tales. 

Jo.  Well,  Plato ('MARCH  smiles)  "The 

Duke's  Daughter"  paid  the  butcher's  bill ;  "A  Phan- 
tom Hand,"  put  down  a  new  carpet ;  and  "The  Curse 
of  the  Conventrys"  proved  the  blessing  of  the 
Marches  in  the  way  of  groceries  and  gowns ;  so  the 
inside  of  my  head  can  at  least  take  care  of  the  out- 
side. 

MR.  MARCH.  How  is  the  book  coming  on?  Any 
news  from  the  publisher  ? 

Jo.  Well,  they  sent  back  the  first  chapters; 
thought  they  were  dull. 

MR.  MARCH.    Oh! 

Jo.  So  did  I,  but  I've  started  'em  out  again,  and 
now — (Laughs) — I'm  sitting  like  Patience  on  a  hard 
chair  smiling  at  an  inkstand. 

MR.  MARCH.  Life  is  your  college,  dear,  and  you 
will  graduate  with  honors,  I  know. 

Jo.  Well,  disappointment  must  be  good  for  me, 
I  get  so  much  of  it,  and  the  constant  thumping  Fate 
gives  me  may  prove  a  mellowing  process,  so  I  shall 
be  a  ripe  and  sweet  old  pippin  before  I  die. 

MR.  MARCH.  (Rises,  laughs  heartily,  going  R.j 
All  the  philosophy  in  the  house  is  not  in  the  study,  I 
see. 

(Exits  to  study  R.I  j 

AMY.  (Coming  down  to  back  of  c.  table,  back 
to  table,  holding  out  the  sketch)  Look,  Jo,  see  my 
modern  Madonna. 

Jo.  It's  great,  Amy,  you  have  Meg's  expression 
exactly.  You're  going  to  be  the  real  genius  of  the 
March  family,  after  all.  I'm  the  grub  and  you're 
the  butterfly. 

AMY.  Jo !  How  can  you  say  that  ?  Think  of 
all  you've  done  for  all  of  us.  Why,  it's  you  who 


94  LITTLE  WOMEN 

have  made  me  ambitious  to  do  my  share.  How  I 
shall  work  when  I  get  to  Rome.  Think  of  it,  Jo — 
I  sail  in  less  than  a  month !  Wasn't  it  good  of  Aunt 
Curtis  to  invite  me? 

Jo.     Splendid,  little  Raphael,  splendid! 

AMY.  Do  you  think  I'm  selfish  to  go,  Jo? 
Father  and  mother  both  tell  me  to,  but  with  Beth  so 
ill  it  seems  as  if  I  were  leaving  such  a  burden  for 
you  to  carry  alone. 

Jo.  Oh,  don't  think  about  me.  Take  your  chance 
and  make  all  you  can  of  it.  Laurie  and  his  Grandpa 
will  be  going  over  soon  and  they'll  see  that  you  have 
a  perfectly  plummy  time. 

MRS.  MARCH.  (Comes  down  the  stairs — goes  to 
window  L.J  Here  comes  Laurie,  girls! 

( Jo  rises,  stands  in  front  of  table  c.  AMY  puts  her 
drawing  board  at  L.  foot  of  sofa  and  drops 
down  R.) 

LAURIE.  (Enters  L.I.E. — goes  to  MRS.  MARCH'S 
arms)  How  do  you  do,  everybody !  College  is 
great,  but  oh,  I  say — it's  good  to  be  home !  (Takes 
both  MRS.  MARCH'S  hands,  looks  into  her  eyes, 
smiling)  Yes,  Mother,  it's  all  right !  (Kisses  her) 

Jo.     (Rapturously)     My  Teddy— oh,  my  Teddy ! 

LAURIE.  (Throws  hat  on  table  c. ;  goes  to  Jo,  c. 
— tenderly)  Dear  Jo,  are  you  glad  to  see  me? 

Jo.  Glad?  My  blessed  boy,  words  can't  express 
my  gladness. 

LAURIE.  (Goes  to  AMY  R.C.,  as  if  to  embrace 
her — AMY  starts  back,  a  little  embarrassed)  Amy — - 
(Pause) — you're  a  picture  in  that  gown! 

AMY.  I'm  glad  you  like  the  frock,  Laurie — I 
made  it  myself. 

(Study  door  opens  and  BETH,  carrying  a  Paisley 
shazvl  on  L.  arm,  enters  with  MR.  MARCH.  AMY 


LITTLE  WOMEN  95 

and  Jo  go  up  to  window  c.,  also  MRS.  MARCH. 
They  fix  the  sofa  and  cushions  for  BETHJ 

MR.  MARCH.    My  boy ! 

BETH.     Laurie! 

LAURIE.  (Crossing  to  BETH,  kissing  her)  Beth ! 
How  is  our  little  Tranquillity  ?  Have  you  been  gain- 
ing since  I  went  away?  (Realizes  the  change  in 
her) 

BETH.  (Smiling)  Yes,  Laurie,  I  am  better,  I 
hope. 

LAURIE.  May  I  escort  you  to  your  throne,  Queen 
Bess  ?  I'm  sorry  I'm  minus  my  velvet  cloak.  (Bows 
in  courteous  manner — BETH  smiles  at  him) 

Jo.  Here,  Teddy !  (Fixing  the  pillows  of  sofa 
in  window  R.cJ  Over  here  in  the  sunshine. 
(Goes  L.J 

(Bus,  of  settling  BETH.  MR.  MARCH  and  LAURIE 
help  BETH  to  sofa — MARCH  spreads  the  shawl 
over  her;  AMY  spreads  a  little  white  shawl  over 
BETH'S  shoulders.  HANNAH  enters.) 

LAURIE.  (Dropping  downstage  a  little  above  c. 
table  to  the  R.J  Bless  my  soul,  I  forgot  not  to  make 
a  racket,  and  here's  Hannah  poking  her  head  in  the 
door  to  warn  me:  "Shake  not  thy  gory  locks  at 
me !"  Hannah,  come  hither ! 

("HANNAH  approaches  R.,  carrying  turkey  in  right 
hand.  LAURIE  embraces  her  heartily — HANNAH 
looks  at  him  adoringly.) 

HANNAH.  (Laughs)  Oh,  Misther  Laurie, 
you're  the  Blarney,  but  you're  bonnier  than  ever, 
and  that's  the  truth. 

(Suddenly  becomes  aware  of  the  turkey  she  is  car" 


96  LITTLE  WOMEN 

rying,  covers  it  up  with  apron  and  retires  up- 
stage R.  a  bit.  MARCH  goes  down  to  fireplace 
as  HANNAH  goes  up  R.) 

LAURIE.  (Covering  his  face  with  his  hands  as 
if  to  hide  his  blushes)  Oh,  don't,  Hannah !  Where 
is  Brooke?  And  how's  the  little  Mamma?  Why 
didn't  you  tell  me  before  I  got  home?  Grandpa 
is  so  mysterious,  he  refuses  to  say  whether  it's  a  boy 
or  a  girl. 

HANNAH.  (Grinning — coming  forward)  Miss 
Jo  sez 

Jo.  (Goes  to  staircase)  Never  mind  what  Miss 
Jo  says.  Wait,  Teddy,  not  a  word  from  anyone — 
mind! 

(Exits  upstairs  with  a  rush,  HANNAH  retires  up- 
stage R.  behind  armchair  at  fireplace.) 

LAURIE.    (Dropping  down  R.  to  MARCHJ    Jupiter 
Ammon !     What  does  she  mean  ? 
MR.  MARCH.     You  wait,  Laurie. 

('BROOKE  appears  on  the  stairs,  comes  to  L.C.) 

LAURIE.  Ah!  Greetings,  Father  Brooke 

(Going  L.C.  to  BROOKED  How  is  Mrs.  Brooke  and 
the  little  Brooke  ? 

BROOKE.  (Shaking  hands)  All  doing  nicely, 
thank  you. 

(Enter  Jo  at  top  of  stairs  with  large  bundle  on  a 
pillow  covered  with  blanket.  BROOKE  retires 
L.,  Jo  comes  down  L.C.  to  LAURIE.J 

Jo.  (Calls)  Shut  your  eyes !  (She  advances  with 
measured  stride.  LAURIE  backs  to  the  R.  corner 
behind,  BROOKE  follows)  Shut  your  eyes  and  hold 
out  your  arms.  (Backing  LAURIE  across  stage  to  R.j 


LITTLE  WOMEN  07 

LAURIE.  (At  study  door  R.I.)  No,  thank  you ! 
I'd  rather  not.  I  shall  drop  or  smash  it  as  sure  as 
Fate! 

Jo.    Then  you  sha'n't  see  your  nevvy ! 

LAURIE.  (Holding  out  his  arms)  j  I  will — I  will 
— only  you  must  be  responsible  for  damages. 

Jo.  Shut  your  eyes !  ('LAURIE  closes  his  eyes — 
Jo  puts  bundle  into  his  arms.  The  others,  dropping 
down  to  R.C.  above  Jo  and  LAURIE,  looking  on.  Jo 
puts  back  the  blanket,  uncovering  the  little  heads  of 
the  twins)  Now  look ! 

(LAURIE  opens  his  eyes,  looks  at  babies,  face  changes 
from  curiosity  to  bewilderment.  Jo  so  over- 
come she  sits  on  the  floor  and  holds  her  sides, 

R.CJ 

LAURIE.  Twins,  by  Jupiter!  Take  'em  quick — 
somebody — I'm  going  to  laugh,  and  I  shall  drop 
'em! 

(Goes  into  roar  of  laughter.  MRS.  MARCH  and 
AMY  go  up  to  BETH.  BROOKE  rescues  the 
babies,  stops  up  L.C.  Holding  babies  so  their 
heads  are  toward  audience.  After  laugh, 
BROOKE  goes  up  to  group  around  BETH.  HAN- 
NAH exits,  laughing,  R-3E.  MARCH  goes  with 
BROOKE.J 

Jo.  Well,  I  set  my  heart  on  surprising  you,  and 
I  flatter  myself,  I've  done  it. 

LAURIE.  (Wiping  his  eyes)  Was  never  more 
staggered  in  my  life.  (Goes  to  L.  of  JoJ  Isn't  it 
fun?  Are  they  boys?  Let's  have  another  look. 
What  are  you  going  to  call  them?  (AMY  drops 
down  to  R. — BROOKE  drops  down  to  L.  of  LAU- 
RIEJ  Here,  Jo (Jo  slowly  rises)  When  you 


98  LITTLE  WOMEN 

get  through  unfolding  like  an  animated  puzzle,  hold 
me  up,  will  you?  For,  upon  my  word,  it's  one  too 
many  for  me !  ('LAURIE  drops  into  Jo's  arms,  goes 
to  her  Lj 

BROOKE.  (L.C.,  proudly  to  LAURIE  and  Jo,)  Boy 
and  girl — aren't  they  beauties? 

LAURIE.  Most  remarkable  children  I  ever  saw. 
Which  is  which?  (Bus. — BROOKE  can't  tell — LAU- 
RIE laughs) 

Jo.  Amy  put  a  blue  ribbon  on  the  boy  and  a  pink 
on  the  girl,  French  fashion,  so  you  can  always  tell. 
Besides,  one  has  blue  eyes  and  one  brown.  Kiss 
them,  Uncle  Teddy. 

LAURIE.  (Hesitating)  I'm  afraid  they  mightn't 
like  it. 

Jo.  (Teasing)  Of  course  they  will.  Do  it  this 
minute,  sir. 

(LAURIE  screws  up  his  face,  takes  one  peek  at  the 
bundle,  then  another.  Squall  from  the  bundle 
and  everyone  laughs.) 

LAURIE.  There!  I  knew  they  wouldn't  like  it. 
(Baby  cry)  That's  the  boy — look  at  him  kick — he 
hits  out  like  a  good  one.  Now  then,  young  Brooke, 
pitch  into  a  man  of  your  own  size,  will  you? 
(BROOKE  swings  the  babies  toward  LAURIE ) 

AMY.  (Proudly)  He's  to  be  named  John  Lau- 
rence, and  the  girl  Margaret  after  mother  and  grand- 
mother. We  shall  call  her  Daisy,  so  as  not  to  have 
two  Megs  in  the  family,  and  as  we  can't  have  two 
Johns  either,  I  suppose  the  "mannie"  will  be  Jack 
unless  we  find  a  better  name. 

LAURIE.  (Hand  on  BROOKE'S  shoulder,  seriously) 
John  and  little  John.  (Teasingly)  Why — name  him 
Demijohn !  ( BROOKE  glares  at  him)  And  call  him 
Demi  for  short. 


LITTLE  WOMEN  99 

('BROOKE  turns  away  with  mock  indignation,  going 
to  stair.) 

Jo.  (Clapping  her  hands)  Daisy  and  Demi! 
Just  the  thing !  I  knew  Teddy  would  do  it. 

( BROOKE  exits  upstairs  with  babies — ALL  laugh.) 

MR.  MARCH.  (Laughing,  goes  to  door^  L.I.  as 
BROOKE  goes  to  stairway)  All  this,  while  very 
pleasant,  isn't  preparing  next  Sunday's  talk.  I'll 
seek  inspiration  under  the  trees.  (Exits  L.I.E.J 

AMY.  My  drawing  lesson's  at  four — it's  time  I 
started.  (Going  to  L.cJ 

LAURIE.  I'll  walk  with  you,  Mademoiselle,  if  I 
may. 

AMY.  Avec  plaisir,  monsieur.  (Goes  to  closet  to 
get  hat) 

MRS.  MARCH.  And  I  must  help  Hannah.  Jo, 
will  you  look  after  Beth  ? 

Jo.  (Goes  L.  to  desk  to  get  her  writing  box) 
Yes,  Marmee,  I'm  going  to  write  and  cuddle  Bethy 
as  soon  as  the  excitement  is  over. 

(MRS.  MARCH  exits  R.U.E.) 

BETH.  (Having  picked  up  AMY'S  drawing 
board)  Oh,  Amy,  how  lovely — how  lovely ! 

AMY.  (Goes  to  BETH  at  window  c.)  Beth,  I 
didn't  want  you  to  see  it  until  it  was  finished — I  was 
doing  it  for  you. 

BETH.  How  good  everyone  is  to  me.  You  al- 
ways make  me  think  of  beauty,  Amy,  and  of  the 
gladness  of  the  spring.  You  are  our  March  sun- 
shine, dear. 

(Reaching  up  her  arm  and  pulling  AMY  down  to 
kiss  her;  AMY  fixes  the  pillows  and  makes  hef, 


TOO  LITTLE  WOMEN 

comfy  during  the  following  scene.    Jo  goes  to 
L.  of  table  c.) 

LAURIE.  Won't  you  come,  Jo?  (Goes  to  her) 
Come,  don't  be  thorny,  a  fellow  deserves  a  little 
petting  after  a  long  grind  in  college. 

Jo.     Amy  will  pet  you.     I'm  busy. 

LAURIE.  Amy  isn't  given  to  petting.  (Puts 
hands  on  her  shoulders  and  says  in  wheedling  tone:) 
Do  you  hate  your  boy  and  want  him  to  go  away  ? 

Jo.  (Petting  his  face  in  sisterly,  fond  fashion) 
You  know  I  don't,  Teddy  dear,  but  Beth  needs  me 
now.  (Her  voice  breaks) 

LAURIE.  (Bending  until  his  face  rests  on  her 
hair)  I  understand,  Jo.  (Voices  outside) 

MR.  MARCH.  (Outside)  Come  right  in — they'll 
all  be  glad  to  see  you. 

BHAER.  And  I  to  see  them — I  have  waited  long 
to  greet  them  all  again. 

(Enter,  followed  by  MARCH — BHAER  carries  forget- 
me-nots  in  his  hand — stops  as  he  sees  LAURIE 
with  his  arm  around  Jo — LAURIE  starts  back — 
Jo  embarrassed.) 

Jo.  Oh,  Mr.  Bhaer!  (Goes  to  him — then  stops 
and  turns  abruptly  away;  twitches  collar,  smoothes 
hair,  frenzied  attempt  to  make  herself  tidy)  Oh,  I 
look  such  a  fright !  (Turns  again  to  BHAER,  hold- 
ing out  hand)  When  did  you  come?  You  remem- 
ber Laurie,  don't  you? 

fBHAER  starts  to  hand  her  flowers,  gets  embar- 
rassed, changes  flowers  to  other  hand,  shakes 
hands  with  jo.J 

BHAER.  (Ready  Robin  at  window)  Indeed  I 
do,  most  pleasantly.  (Crosses  to  him) 


LITTLE  WOMEN  101 

LAURIE.     How  do  you  do,  Professor  Bhaer? 

BHAER.  Very  well,  I  tank  you.  (Turning  to  Jo, 
who  drops  down  L,  half  hands  her  the  flowers,  then 
takes  them  back  again)  I  arrif  only  this  morning, 
Mees  Marche.  How  is  the  leetle  sick  one  ? 

MR.  MARCH.  Come  right  up  here  and  speak  to 
her,  Professor. 

BHAER.  (Places  hat  on  table  c.  as  he  goes  up 
with  MR.  MARCH — crossing  to  BETH,  and  handing 
her  the  flowers)  May  I  venture  to  offer  these 
flowers  to  my  leetle  friend?  They  make  me  think 
of  your  eyes. 

('MARCH  goes  to  L.  end  of  sofa,  BHAER  at  R.  end.) 
BETH.     Oh,  thank  you,  sir. 

/BETH  takes  the  flowers.  Jo  gets  BHAER'S  book 
from  c.  table  and  stands  with  LAURIE  by  desk 
— LAURIE  upstage  facing  front,  Jo  with  back 
to  audience.) 

AMY.  Mr.  Bhaer,  it  is  good  to  see  you  here 
again. 

BHAER.  And  it  is  goot  to  be  here,  Mees  Amy. 
CAMY  goes  into  dining  room  for  vase.  He  turns 
and  sees  Jo  and  LAURIE  together;  comes  down 
c.  to  R.  of  c.  table.  MARCH  is  back  of  c. 
table)  And  may  I  congratulate  this  happy  house- 
hold? (Pause — looks  between  Jo  and  LAURIE — 
they  separate,  MARCH  takes  in  the  situation) 
Motherhood  is  the  deepest  and  tenderest  experience 
in  a  woman's  life. 

Jo.  And  may  I  congratulate  you,  sir,  on  the 
beautiful  book?  ('BHAER  goes  to  Jo,  L.J  I  nevef 
had  anything  dedicated  to  me  before — and  to  begin 
with  Schiller ! 


102  LITTLE  WOMEN 

(Puts  the  book  on  desk.  As  LAURIE  and  MARCH* 
go  to  BETH,  AMY  returning  at  once,  puts  BETH'S 
flowers  in  vase  and  places  them  on  window  sill 
and  sits  R.  on  sofa.  LAURIE  sits  in  chair  at  R., 
head  of  sofa  and  MARCH  sits  on  small  stool  at 
foot  of  sofa  L.  AMY  sits  on  sofa  beside  BETH 
— threads  her  needle  for  her — BETH  is  sewing 
on  the  little  baby  jacket.) 

BHAER.  As  your  goot  Fadder  says,  Mees 
Marche,  always  begin  with  the  best.  But  you — you 
have  been  ill,  my  friend?  (Looking  at  her  closely) 

Jo.  Not  ill,  but  a  little  tired,  and  worried  about 
Beth. 

BHAER.  Ah,  yes,  I  know,  for  the  goot  Fadder 
he  has  told  me,  and  my  heart,  he  grieves  for  you. 
I  wish  I  could  help — do  something. 

Jo.     Thank  you,  sir,  but  nothing  can  help  me  just 

now — except  to  have  Beth  get  well (Places 

her  hand  on  BHAER'S  arm — her  voice  breaking)    She 
seems  to  be  slipping  away  from  us.     • 

BHAER.  (Takes  Jo's  hand)  Dot  is  in  Gott's 
hands,  Mees  Marche ;  but  the  spring  comes. — fLAU- 
RIE  rises  and  arranges  BETH'S  pillows — BHAER 
turns  and  sees  this) — And  dot  should  help  my  little 
friend.  (Gets  hat  from  table  c.)  I  know  you  may 
tink  of  me — he  is  a  stupid  old  fellow;  he  will  not 
see.  But  I  haf  an  eye,  and  I  see  much;  T  haf  a 
heart,  and  I  feel — I  tink  it  besser  to  say  not  what  I 
feel — now.  (Starts  to  go  L.I.E.J 

Jo.  (Quickly — putting  out  her  hand)  Oh,  you 
are  not  going  so  soon?  (BHAER  turns)  Mother  will 
be  in  directly. 

(READY  LIGHTS.) 

BHAER.  Tank  you,  but  I  must  go.  (Takes  Jo's 
hand,  looks  across  at  LAURIE,)  I  tink  it  is  time. 
(Almost  as  if  he  were  putting  her  out  of  his  life 


LITTLE  WOMEN  103 

forever)  May  the  happiness  which  you  haf  so 
richly  deserved  be  yours  for  always,  my  friend. 
Good-bye.  (Opens  door) 

Jo.     (Surprised)     Good-bye? 

BHAER.  (Turns,  with  sad  little  smile)  Well, 
den,  let  us  say  Auf  Wiedersehn.  (Exits  L.I.E.  j 

(Jo  stands  at  window  L.,  looking  after  him.    ROBIN 
chirps.) 

BETH.  Listen — that's  my  robin  !  (LAURIE  rises) 
See  how  he  struts  and  tries  to  show  off.  He's  sing- 
ing for  his  supper.  Amy,  will  you  bring  me  some 
crumbs  ? 

("MR.  MARCH  turns,  looks  L.     ROBIN  stops.) 

Jo.  (Starts  quietly  for  dining  room)  I'll  get 
them,  dear. 

MR.  MARCH.     Why,  where's  the  professor? 

Jo.  (Without  turning)  He's  gone.  (Exit  R-3E. 
LAURIE  looks  after  her) 

AMY.     We  must  hurry,  I'll  be  late  for  my  les' 


(Picks  iip  drazving-board,  kisses  BETH  and  goet 
down  to  door  L.  ;  then  LAURIE  starts  L.,  turns 
back,  as  if  he  divined  a  change  in  BETH — and 
kisses  her.) 

LAURIE.  Good-bye  for  a  little  while,  Beth.  You 
must  hurry  and  get  well. 

BETH.  Yes,  yes — I  shall  be  well  soon,  Laurie. 
(LAURIE  goes  down  to  back  of  c.  table,  stops,  real' 
izing  BETH'S  condition.  AMY  almost  says  in  panto- 
mime "Are  you  coming?" — They  exit  together  L.I.E. 
MR.  MARCH  is  standing  looking  out  of  window — > 
when  BETH  speaks  he  goes  and  sits  beside  her  on 
sofa.  BETH  holds  up  a  little  baby  jacket)  See, 


104  LITTLE  WOMEN 

Father,  I  wanted  to  finish  it  before  the  babies  came. 
Will  you  take  it  to  Meg,  please,  and  cell  her  that 
every  stitch  means  Ipve  for  her  ? 
MR.  MARCH.    Yes,  dear,  I  will. 

(Takes  jacket,  rises,  faces  front,  holding  out  jacket, 
looks  at  it,  then  at  BETH,  who  has  lain  back  on 
pillows,  then  exits  upstairs.) 

Jo.  (Enters  with  dish  of  crumbs,  opens  window) 
Here  we  are,  dear. 

(Sits  back  of  BETH,  holding  her  up.  After  BETH 
throws  out  crumbs,  ROBIN  chirps  again.) 

BETH.  See,  Jo,  how  tame  he  is.  Dear  little  fel- 
low. I  hope  he  comes  back  next  spring-.  ('BETH 
shivers  and'lies  back) 

Jo.  Oh,  you're  cold,  dearie.  (Closes  windows) 
Aren't  you  tired  of  sitting  on  the  sofa,  and  sha'n't 
I  tuck  you  up  in  the  big  chair  by  the  fire? 

BETH.  Yes,  please,  and (Handing  over  the 

work  basket)  Please  put  these  things  away.  The 
needle  is  so  heavy — and  I  am  tired 

Jo.  (Turns  armchair,  throws  pillows  onto  floor 
R.C.,  up  to  sofa,  very  gently  lifts  BETH — says:) 
Upsy  daisy !  (Places  BETH  in  chair,  then  pushes 
chair  downstage  to  about  R.C.  a  little  R.  in  front  of 
fireplace)  Now  I'll  give  you  a  nice  long  ride.  (Puts 
pillows  under  feet  and  shawl  over  her  legs.  Lights 
change  to  light  amber,  dim  foots  and  ist  border  ac- 
cordingly) Are  you  all  right  now,  little  sister? 

(BETH'S  lines  must  be  spoken  sweetly  and  happily — 
without  tears  or  fear  of  death;  trying  to  make 
it  easy  for  others.  Simplicity  and  faith  the 
keynote.) 


LITTLE  WOMEN  105 

BETH.  Yes,  thank  you.  ( Jo  sits  on  floor  at  L.  of 
chair — a  little  pause)  Jo,  I  thought  of  Meg-  all  night 
long,  as  I  lay  awake.  Dear,  happy  little  mother  in 
that  room  upstairs.  I  thought  of  the  angel  sent  to 

show  those  little  babies  the  way  to  this  life  and 

(Reaching  for  Jo's  hand)  Jo — perhaps  waiting  to 
show  some  weary  soul  the  way  to — a  more  perfect 
life — how  strange  the  coming  and  the  going — and 
how  beautiful — I  think  I've  just  been  waiting  to  see 
Meg's  babies.  (Jo  looks  quickly  at  her  sister  and 
shows  that  she  understands  at  last  the  nearness  of 
the  parting.  BETH  smiles  tenderly.  Jo  hides  her 
face  in  BETH'S  lap.  BETH  smoothes  her  hair.  Jo 
sobs)  Jo,  dear,  I'm  glad  you  understand.  I've 
wanted  to  tell  you,  but  I  couldn't.  Will  you  tell 
the  others  for  me? 

Jo.  (Quietly  sobbing)  Beth!  What  are  you 

saying?  You're  not  going God  wouldn't  be 

so  cruel. 

BETH.  (Holding  her  close,  for  a  moment  the 
stronger  of  the  two)  Hush,  Jo !  This  morning — I 
watched  the  sunrise.  As  the  darkness  faded  into  the 
gray  and  violet  ...  I  watched  and  waited.  The 
sky  got  rosy  and  beautiful — ,  and  then  it  seemed  as 
if  everything  stood  still — as  if  God's  hand  had  rested 
on  the  earth  for  a  moment — and  then — the  glory 
of  the  sun!  It  seemed  like  going  through  a  long, 
dark  passage — or  a  grave — and  suddenly  coming  in 
to  light,  and,  Jo,  dear,  I  felt  f or -the-first  time — the 
nearness  of  God.  I  knew  that  the  Angel  of  Life 
was  waiting  for  me.  (With  radiant  face) 

Jo.     Beth !    I'm  not  going  to  give  you  up\; 

BETH.  But  I  sha'n't  be  far  away.  I'll  go  on 
helping  all  I  can,  dear.  The  only  hard  part  is  leav- 
ing you  all.  I'm  not  afraid — but  it  seems  as  if  I 
should  be  homesick  for  you  even  in  Heaven. 

MRS.  MARCH.  (Enters  from  dining  room,  comes 
R.  of  chair,  speaking  as  she  comes  down)  Beth, 


io6  LITTLE  WOMEN 

dear,  come  with  mother (Looks  at  BETH  and 

sees  her  sinking  condition — takes  her  wrist  and  R. 
hand  to  feel  pulse,  left  hand  to  forehead)  I  want 
you  to  lie  down. 

BETH.  I  think  I  will,  Marmee.  (]o  takes  shawl 
and  pillows,  remaining  on  knees.  BETH  rises  with 
rapt  expression  as  if  seeing  a  beautiful  vision.  MRS. 
MARCH  helps  BETH  to  door  R.iJ  Tell  them  soon, 
Jo — very  soon 

(Jo  has  risen,  takes  BETH'S  hand  and  kisses  it.    Jo 
nods,  too  overcome  to  speak.) 

MRS.  MARCH.     Come,  dear. 

(A  light  in  R.I.  beams  on  BETH  just  before  she  exits, 
as  she  pauses,  in  door.  Jo  closes  the  door  softly 
behind  BETH — passes  her  hand  lovingly  over 
BETH'S  chair,  takes  up  her  pillow,  kisses  it  and 
breaks  into  sobs,  sinks  onto  sofa,  burying  face 
in  pillow.  MARCH  and  BROOKE  laugh  outside.) 

MR.  MARCH.  (Laughing,  he  and  BROOKE  coming 
downstairs)  Daisy  certainly  shows  a  proper  appre- 
ciation of  her  new  finery.  (As  they  reach  L.C., 
BROOKE  filling  pipe.  Lights  change  to  dark  amber. 
Foots  and  ist  border  accordingly)  Oh,  John ! 

BROOKE.  (Laughing)  Can't  be  a  bad  example  to 
my  son,  and  I  must  smoke,  Father.  Will  you  join 
me  for  a  turn  in  the  garden? 

MR.  MARCH.  (Going  to  door  L,.)  You  shouldn't 
begin  by  hiding  your  vices,  John.  But  I'll  go 

(They  step  into  the  hallway,  where  JOHN  stops  to 
light  his  pipe.  MEG'S  voice  upstairs  is  heard 
crooning  an  old  lullaby  to  her  babies.  "Oh,  hush 
thee,  my  baby;  Thy  sire  was  a  knight,"  etc.  This 


LITTLE  WOMEN  107 

continues  intermittently  and  softly  to  the  end  of 
the  act.  Jo  goes  down  and  sits  L.  of  table  c. 
where  her  small  writing  desk  is,  and  tries  to 
write — looks  up — her  head  in  her  hands.  Study 
door  opens  and  MRS.  MARCH  enters — closes 
door  softly.) 

MRS.  MARCH.     (Unemotionally — restrained)    Jo, 
dear,  go  to  Beth.    She  is  asking  for  you. 
Jo.     Yes,  Mother.    (Exits  to  study) 

('MRS.  MARCH  starts  to  the  stairs;  just  as  she  reaches 
foot  of  stairs,  MR.  MARCH  laughs  outside.) 

MRS.  MARCH.  (Turning)  Father — Father 

(To  L.  of  c.) 

MR.  MARCH.  (Enters,  followed  by  BROOKED 
Mother — what  is  it? 

BROOKE.     Is  Beth  worse  ? 

MRS.  MARCH.  (Quietly,  but  tensely)  It's  the 
end,  I'm  afraid.  She  asked  for  Jo.  I  must  send 
Hannah  for  Amy. 

BROOKE.     I'll  go. 

MRS.  MARCH.  No,  you  must  stay  with  Meg;  she 
can't  be  told  yet. 

MR.  MARCH.  (Going  back  of  c.  table)  I'll  send 
Hannah. 

(Exits  R-3E.    MRS.  MARCH  crosses  in  a  daze  to  c.) 

BROOKE.  (Putting  his  arm  about  her)  It  may 
not  be  the  end — only  another  sinking  spell,  Mother. 
Don't  give  up  hope. 

MRS.  MARCH.  Oh,  John,  I'm  afraid (As 

she  starts  for  the  study  door,  MARCH  re-enters)  I'm 

afraid (Goes  to  study,  places  hand  on  door 

knob — turns,  meets  MARCH  in  front  of  closed  door. 
MRS.  MARCH  breaks  down,  puts  her  head  against 
his  shoulder.  He  holds  her  close) 


io8  LITTLE  WOMEN 

MR.  MARCH.  There,  there — my  little  Spartan 
Mother !  We're  not  going  to  sadden  Beth's  last  mo- 
ments with  our  tears. 

( MRS.  MARCH  pulls  herself  together,  looks  up  into 
his  face  with  a  brave  smile.  MR.  MARCH  opens 
door,  MRS.  MARCH  enters  slowly,  slight  pause 
— then  MR.  MARCH  follows.  BROOKE  looks  at 
door,  then  turns,  looks  up  stairs  where  MEG  is 
singing  to  the  babies.  Slight  pause — LAURIE 
enters  L.I.,  quietly,  to  L.cJ 

WARN  CURTAIN.) 

LAURIE.  Brooke,  what's  the  matter?  I  saw 
Hannah  flying  down  the  street.  When  I  spoke  to  her 
she  burst  out  crying  and  hurried  on.  Is  it  Beth? 

BROOKE.     (Goes  Rj    Yes. 

LAURIE.  Is  she  worse  ?  (BROOKE  nods)  Where 
is  Jo? 

BROOKE.  (Nodding  toward  study)  They  are  all 
in  there  with  Beth.  She  must  have  taken  a  turn 
for  the  worse  and (Stops  as  LAURIE  looks  be- 
yond him.  Study  door  opens  and  MARCH  comes 
out,  closes  door,  crosses  to  BROOKE  at  R.  of  table  c., 
without  seeing  either  of  the  boys.  BROOKE  puts  out 
his  hand  to  MARCH'S  shoulder)  Father! 

(MARCH  looks  up  for  a  moment,  bows  his  head 
and  exits  to  garden,  pausing  for  a  second  to  lift 
his  head  to  the  light — JOHN  and  LAURIE  look 
at  each  other,  realizing  BETH'S  death.) 

LAURIE.  (Gently)  Dear  little  Beth.  Does  Amy 
know? 

BROOKE.  Not  yet.     They  sent  Hannah  for  her. 

LAURIE.  I'll  go  and  meet  her. 

BROOKE.  (Starting)  Better  wait  here,  I  must  go 
to  Meg. 


LITTLE  WOMEN  109 

(Up  to  first  landing  —  pauses  a  moment  as  he  hears 
MEG'S  voice,  pulls  himself  together  and  exits  — 
MEG'S  singing  stops.  LAURIE  walks  slowly  up 
to  window  R.C.,  looks  out  of  it,  evidently  waiting 
for 


AMY.  (Enters,  running,  throws  her  hat  on  c. 
table  —  going  to  R.cJ  Laurie,  what  is  it?  Is  Beth 
very  ill  ? 

LAURIE.  (Coming  to  AMY  quickly,  taking  both 
her  hands  and  speaking  very  gently)  No,  dear; 
Beth  is  WELL  at  last. 

('AMY  looks  up  at  him,  realizes  the  truth,  goes  to 
BETH'S  chair,  drops  to  her  knees  beside  it,  hides 
her  face  in  arms  on  chair,  sobbing  quietly.) 

AMY.     Oh! 

LAURIE.  (Goes  to  her)  Don't,  dear,  don't  — 
Little  Amy,  this  isn't  the  end  —  it's  the  beginning. 
This  is  the  time  for  gladness  —  not  for  tears  !  (Pause 
with  awe  and  inspiration  as  they  listen.  Bird  song) 
Don't  you  get  her  message  from  the  other  side? 

(This  must  be  spoken  with  great  simplicity  and  sin- 
cerity.) 

(The  Bird  is  heard  singing  just  outside  the  win- 
dow; the  low,  sweet,  late  afternoon  song  of  the 
sunset  hour.  At  BETH'S  chair,  LAURIE  has  one 
arm  across  AMY'S  shoulders,  looking  at  her. 
Her  head  is  resting  against  him.  He  looks  at 
her  with  growing  tenderness.) 

MEDIUM  SLOW  CURTAIN 
(As  Bird  is  heard  AMY  looks  up.    Hold  picture  for 


i  io  LITTLE  WOMEN 

2nd  curtain.  No  calls.  No  music  for  curtain 
down.  Overture  between  Acts  III  and  IV, 
"Sunny  South  Overture." ) 

(Time  of  act:  30  minutes.) 


ACT  FOUR 

TIME:  Eighteen  months  later,  October,  1868.  A 
golden  October  afternoon. 

SCENE  :  The  Harvest  Home.  Plumfield.  "A  mel- 
low October  day,  when  the  air  was  full  of  an 
exhilarating  freshness,  which  made  the  spirits 
rise  and  the  blood  dance  healthily  in  the  veins. 
The  old  orchard  -was  in  holiday  attire;  golden- 
rods  and  asters  fringed  the  mossy  walls;  grass- 
hoppers skipped  briskly  in  the  sere  grass,  and 
crickets  chirped  like  fairy  pipers  at  a  feast; 
squirrels  were  busy  with  their  small  harvesting; 
birds  twittered  their  adieux  from  the  alders  on 
the  lawn;  and  every  tree  stood  ready  to  send 
down  its  shower  of  red  or  yellow  apples  at  the 
first  shake.  Everybody  was  there;  everybody 
laughed  and  sang,  climbed  up  and  tumbled 
down;  everybody  declared  that  there  had  never 
been  such  a  perfect  day,  or  such  a  jolly  set  to 
enjoy  it" 

ACT  IV 

Orchard  drop  in  perspective.  Two  cut  drops.  One 
platform  three  feet  ^vide>  ten  inches  high  runs 
back  of  wall  between  cut  drop  to  c.  Padded 
step  from  platform  to  stage  level.  Four-foot 
stone  wall  and  rustic  gate  from  L.I.  to  L.3.  Then 
across  the  back — with  opening  center.  Big  oak 
tree  with  bench  R.  Six  wood  wings. 
in 


ii2  LITTLE  WOMEN 

SET  FOR  ACT  IV :  An  Autumn  orchard,  with  brook 
in  middle  distance,  connected  with  front  stage 
by  small  rustic  bridge.  Vistas  of  red  and  yel- 
low-leaved tree's,  with  paths  between.  A  clear- 
ing in  center  stage,  covered  with  turf.  Garden 
seat  arranged  under  tree  R.  at  edge  of  clearing, 
but  not  to  obstruct  views  up  paths  leading  off 
between  trees,  right  and  left.  Stone  wall  cov- 
ered with  vines — across  the  back — opening  in 
c. — rustic  swing  gate  L.I.E.  Air  filled  with  Au- 
tumn sounds.  Practical  apple  orchard. 

LIGHTS  :     Straw  throughout  act.    Medium,  Curtain. 

Music  AT  RISE:  Curtain  up:  "The  Birks  of  Aber- 
feldy." 

DISCOVERED:  As  the  curtain  rises  slowly,  BROOKE 
is  lying  under  a  tree,  R.C.  at  R.,  his  hat  over  his 
eyes,  pipe  in  his  mouth,  hands  under  head,  atti- 
tude of  perfect  repose.  MEG  sitting  beside  him 
on  bench  under  tree.  Get  the  atmosphere  of  the 
Autumn  scene  for  a  few  moments,  song  of 
birds,  crickets,  ripple  from  brook;  the  orchestra 
playing  softly  and  rather  slowly,  "The  Birks  of 
Aber  feldy." 

MEG.  (Dropping  her  sewing  and  looking  up  at 
the  trees,  off  L.,  noting  the  beauty  all  about  her.  She 
evidently  sees  something  that  interests  her  in  a  near- 
by tree,  for  she  speaks  to  her  husband  in  a  subdued 
voice)  John!  John!  fJoHN  sits  up,  looks  L.  MEG 
puts  her  hand  on  his  shoulder)  See  that  darling  lit- 
tle squirrel. 

BROOKE.  (Lazily  sitting  up  and  following  the  di- 
rection in  which  her  unlifted  finger  is  pointing,  tak- 
ing his  pipe  from  his  mouth  and  emitting  a  puff  of 
smoke)  That  isn't  a  squirrel,  it's  a  chipmunk.  (He 


LITTLE  WOMEN  113 

drops  back  on  the  ground  and  continues  smoking,  an- 
other pause) 

MEG.  Smarty!  It's  such  a  beautiful  place. 
(Smiling)  Aunt  March  certainly  did  the  March 
family  one  good  turn  in  leaving  dear  old  Plumfield 
to  Jo. 

BROOKE.  (Sits  up  and  puts  his  hand  on  her 
knee,  teaslngly)  She  certainly  did  them  another — 
look  at  the  husband  she  provided  for  you. 

MEG.  (Cuffing  him)  Conceit,  well,  there's  one 
thing;  you're  useful  as  well  as  ornamental — but 
what  will  Jo  do  with  Plumfield? 

BROOKE.  (Laughs)  Why,  I  think  her  plan  is  a 
fine  one — to  turn  it  into  a  home  school  for  boys. 

('AMY  enters  laughing  L.I. — JOHN  sits  up.) 

AMY.  (Going  to  them)  Meg,  you  should  see 
Father  and  the  babies.  He's  trying  to  teach  them 
the  alphabet. 

BROOKE.     The  alphabet  ? 

AMY.     Yes,  with  his  legs! 

BROOKE  and  MEG.  (Exclaim  and  laugh)  His 
legs! 

AMY.  Lying  on  his  back,  Demi  on  the  ground 
beside  him,  their  legs  in  the  air  making  V's  and  W's 
while — (Showing  with  her  fingers) — Daisy  looks  on 
in  wide-eyed  wonder. 

('MEG  and  BROOKE  roar ;  AMY  drops  down  to  turf 
beside  them.) 

MEG.  With  a  philosopher  for  a  grandfather  and 
a  tutor  for  a  father,  my  son  will  soon  be  having 
bumps  over  his  eyes  and  asking  unanswerable  ques- 
tions. 

BROOKE.  The  Plumfield  School  has  certainly 
started. 


ii4  LITTLE  WOMEN 

AMY.  I  wish  it  had.  I  do  want  Jo  to  realize 
her  old  dream  of  plenty  of  boys  and  plenty  of  free- 
dom. 

MEG.  But  it  isn't  practical,  dear.  Jo  is  a  born 
tomboy,  I  know,  but  even  she  can't  run  a  boys' 
school,  without  the  right  teachers  and  enough  money. 

BROOKE.  (Insinuatingly)  But  fond  parents  have 
been  known  to  pay. 

AMY.  Yes,  but  it  would  be  just  like  Jo  to  gather 
up  every  little  ragged  urchin  that  needed  a  home. 
She'd  adopt  a  whole  orphan  asylum  if  she  could. 
(Turns  up  left) 

BROOKE.  Well,  then,  I  don't  see  anything  for  it 
except  to  have  her  marry  a  rich  man.  f  AMY  turns) 

MEG.  (Trying  to  hush  him  on  AMY'S  account) 
John  Brooke,  are  you  turning  matchmaker? 

BROOKE.  No,  I  leave  such  trivialities  to  my  wife 

— but  wouldn't  it  be  nice  if — Laurie (Gets  up 

on  knees.  AMY  gets  up  and  moves  a  little  away 

L.U.; 

MEG.  John !  (Motions  him  to  be  quiet,  then  put- 
ting on  a  little  affair  of  lace  and  flowers  she  is  mak- 
ing; breaking  in  to  change  subject;  trying  to  cover 
up  JOHN'S  breaks)  John!  How  do  you  like  my 
new  millinery? 

BROOKE.  It's  very  pretty.  Is  that  what  you  call 
a  breakfast  cap? 

MEG.  My  dear  man,  it's  my  very  best  go-to-the- 
concert  and  theatre  bonnet. 

BROOKE.  (Sitting  up  and  looking  interested)  I 
beg  your  pardon.  (MEG  illustrates  the  bonnet. 
BROOKE  puts  his  arms  about  her)  It's  a  love  of  a 
bonnet,  but  I  prefer  the  face  inside.  (Kisses  her) 

(Enter  MR.  LAURENCE  and  MRS.  MARCH  from  L.3E. 
AMY  joins  them  as  they  come  downstage,  takes 
MR.  LAURENCE'S  arm.) 


LITTLE  WOMEN  115 

MR.  LAURENCE.  (Speaking  as  they  stroll  down — 
L.  of  c.)  This  is  a  fine  old  place  and  it's  been  in  your 
family  for  generations.  I  wish  Miss  Jo  would  let 
me  help  her  finance  her  scheme. 

MRS.  MARCH.  (K.  of  c.)  I'm  afraid  her  plan 
isn't  feasible.  She's  no  more  idea  of  business  than 
a  baby. 

AMY.  (L.)  That's  why  she's  so  dear,  Mr.  Lau- 
rence. 

MEG.  Oh,  why,  when  Aunt  March  left  Jo  the 
old  place,  didn't  she  include  money  enough  to  run 
it? 

MRS.  MARCH.  I'm  not  sure  that  I  altogether  ap- 
prove of  Jo's  plan.  She's  making  a  name  for  her- 
self with  her  writing,  and  since  our  little  Beth  left 
us,  that  has  been  her  one  pleasure. 

('LAURIE  enters  from  L.3  to  c.) 

MR.  LAURENCE.  (Not  seeing  him)  Where  is 
Jo? 

MEG.  I  think  she's  somewhere  about  the  place 
with  Laurie. 

LAURIE.  (Laughing  c.)  Oh,  no  she  isn't.  She's 
showing  the  professor  over  Plumfield,  and  they're 
building  educational  castles  in  the  air — a  castle  on 
every  acre. 

(All  laugh — JOHN  lying  down  in  front  of  MEG.)' 

MRS.  MARCH.  Yes,  and  quite  forgetting  that 
there  are  hungry  men  to  feed.  I  think  I'll  tell  Han- 
nah to  have  tea  out  here  under  the  trees. 

AMY.     Oh,  do,  Marmee,  it  will  be  beautiful. 

MEG.  (Shaking  BROOKED  Get  up,  you  lazy  boy. 

(Rises)  And  help  me  collect  the  babies (They 

all  laugh)  It's  their  sleepy  time,  remember. 

BROOKE.  Behold,  a  henpecked  husband!  (On 
knees,  then  rises — they  all  laugh  at  him) 


ii6  LITTLE  WOMEN 

MR.  LAURENCE.  (Following  MRS.  MARCH  out 
of  gate  to  L.J  I  seek  the  philosopher  of  the  apple 
orchard ! 

(MEG  grosses  to  gate  ~L.) 

BROOKE.     Aren't  you  going  to  wait  for  me? 
MEG.     Come  along,  slow  poke. 

(MEG,  BROOKE,  MRS.  MARCH  and  MR.  LAURENCE 
exit  L.,  through  gate  laughing  and  talking  to- 
gether. AMY  starts  to  follow  them,  but  LAURIE 
intercepts  her.) 

LAURIE.  Amy,  wait!  What  a  day  and  what  a 
place !  Somehow  it  makes  me  think  of  that  old  gar- 
den at  Valrosa.  Do  you  remember  ? 

AMY.  Shall  I  ever  forget  ?  You  used  to  read  to 
me  by  the  hour,  while  I  sketched. 

LAURIE.  (Laughing)  And  lectured.  Don't  for- 
get that,  please. 

AMY.     (Contritely)    Did  I  lecture,  Laurie? 

LAURIE.  Well,  rather — regular  rousers,  but  it  did 
me  good,  made  me  ashamed  of  my  lazy  ways.  (Go- 
ing up  c.)  When  do  you  begin  your  great  work  of 
art,  Raphaella? 

AMY.  Never.  Rome  took  all  the  vanity  out  of 
me,  for  after  seeing  the  wonders  there,  I  felt  too  in- 
significant to  live,  and  gave  up  all  my  foolish  hopes 
in  despair. 

LAURIE.  Why  should  you,  with  so  much  energy 
and  talent? 

AMY.  That's  just  why.  Because  talent  isn't 
genius,  and  no  amount  of  energy  can  make  it  so.  I 
want  to  be  great  or  nothing.  ( Goes  R.  to  seat  under 
tree)  I  won't  be  a  commonplace  dauber,  so  I 
don't  intend  to  try  any  more.  (Sits  on  R.  bench) 

LAURIE.     I'm  glad  of  it.    (Going  to  her) 

AMY.    Why? 


LITTLE  WOMEN  117 

LAURIE.  Because — because — I — I — well,  I  don't 
think  a  career  is  suited  to  you,  Amy — you  be- 
long  

AMY.    Yes 

LAURIE.     That  is — Amy 

AMY.     Yes,  Laurie 

LAURIE.     I — I 

AMY.     Yes,  Laurie 

LAURIE.  (To  c.,  floundering  hopelessly)  I've 
found  those  sketches  you  made  of  the  trail  at 
Vevay. 

AMY.  (Rises)  Wasn't  that  walk  through  the 
woods  wonderful?  But  I  loved  even  more  our 
mornings  on  the  lake.  (Going  to  c.  to  him) 

LAURIE.  (Dreamily)  When  we  floated  under 
the  tower  and  in  the  shadows  of  the  old  castle. 

AMY.  With  the  mountains  on  every  side.  (Both 
sigh  and  then  look  at  each  other.  LAURIE  is  look- 
ing down  at  AMY  so  tenderly  that  AMY  is  confused 
and  afraid  to  maintain  silence,  makes  an  effort  to 
go  on  talking,  laughing,  embarrassed)  How  well 
we  used  to  pull  together,  didn't  we? 

LAURIE.  (Stopping  short  and  taking  both  her 
hands  in  his,  facing  her  and  looking  down  at  her 
tenderly,  his  embarrassment  gone,  quiet  and  very 
earnest)  So  well  that  I  wish  we  might  always  pull 
in  the  same  boat.  Will  you,  Amy  ?  Will  you  ? 

AMY.     (Speaking  very  softly)    Yes,  Laurie. 

LAURIE.  (Taking  her  in  his  arms  and  kissing 
her)  When  did  you  begin  to  care,  dear? 

AMY.  (Seriously)  Always,  I  think,  Laurie,  and 
I  struggled  against  it,  for  I  thought  you  loved  Jo. 

LAURIE.  Dear,  I  was  wrong  about  Jo,  and  head- 
strong, and  Jo  was  right.  May  it  be  very  soon, 
Amy? 

AMY.    Yes,  dear. 

LAURIE.  Mrs.  Laurence!  Oh,  I  say,  how  good 
that  sounds ! 


ii8  LITTLE  WOMEN 

AMY.     (With  curtsey)    My  lord 

LAURIE.     (Low  bow)    My  lady 

(They  embrace.  AMY  sees  MR.  LAURENCE  over 
LAURIE'S  shoulder,  gives  a  scream,  picks  up 
skirt  and  runs  off  R.iJ 

MR.  LAURENCE.  (Comes  c.  stage,  smiling,  to 
where  LAURIE  is  standing,  grasps  him  by  both  hands, 
almost  hugging  him)  My  boy,  it's  what  I've  been 
hoping  for  for  years. 

(]o  and  BHAER  enter  back  stage,  up  L.,  on  platform 
run,  pacing  to  and  fro,  talking,  and  not  seeing 
the  others,  backs  to  audience.) 

LAURIE.     I'm  glad  you're  pleased,  sir. 

MR.  LAURENCE.  (Laughing)  What  will  Jo 
say? 

LAURIE.  (Who  has  spied  her,  pointing  across  the 
bridge  and  laughing)  Well,  I  don't  think  she'll 
mind.  Oh,  I  say,  Grandpa,  get  the  professor  away, 
won't  you  ?  I  want  to  get  the  first  skim,  as  we  used 
to  say  when  we  were  children  and  squabbled  over 
the  cream. 

MR.  LAURENCE.  (Starting  across  the  bridge,  up 
c.  and  off  on  platform)  All  right,  my  lad.  (Half 
•way  across  he  stops,  as  if  thinking  up  an  excuse, 
finally  goes  over  to  where  the  professor  and  Jo  are 
talking.  LAURIE  withdraws  to  one  side,  and  as  soon 
as  Jo  looks  his  way,  beckons  her  energetically  to 
come  over  to  him.  All  this  is  pantomime)  Profes- 
sor Bhaer.  (Takes  the  professor's  arm  and  leads 
him  off,  going  L.uJ  Have  you  seen  the  Archaeo- 
logical Society's  last  report  on  the  burial  customs  of 
the  ancients?  (The  professor  looks  surprised,  so 
does  Jo,  and  LAURIE  is  convulsed  at  the  flimsy  ex- 
cuse fabricated  by  the  old  gentleman,  who  links  his 


LITTLE  WOMEN  119 

arm  through  the  professor's,  and  draws  him  away, 
evidently  against  the  Jotter's  will,  the  voices  dying 
away  in  the  distance)  I  hear  it  has  aroused  a  storm 
of  protest  in  Boston.  Mr.  March  and  I  were  dis- 
cussing it  and  we  wondered  if  you 

Jo.  (Has,  in  the  meantime,  slowly  crossed  the 
bridge,  comes  downstage  to  LAURIE,  whom  she  re- 
gards suspiciously,  evidently  expecting  trouble  or 
teasing  of  some  kind,  c.)  What  is  it,  Teddy?  You 
look  wicked.  Out  with  it,  you  bad  boy  !  What  mis- 
chief have  you  been  up  to  now  ? 

LAURIE,  (c. — dropping  on  his  knees  and  folding 
his  hands  as  if  asking  pardon)  Please,  ma'am,  I'm 
going  to  get  married. 

Jo.  Mercy  on  me,  what  dreadful  thing  will  you 
do  next? 

LAURIE.  (Sits  back  on  heels,  laughing)  A  char- 
acteristic, but  not  exactly  complimentary  congratu- 
lation. 

Jo.  What  can  you  expect  when  you  take  one's 
breath  away  and  let  the  cat  out  of  the  bag  like  that  ? 
Who  is  she?  Do  I  know  her?  Get  up,  you  ridicu- 
lous boy,  and  tell  me  all  about  it ! 

LAURIE.  (Springs  up  lightly)  Yes,  you  know 
her,  Jo.  You've  known  her  longer  than  I  have. 

Jo.     Miss  Randall? 

LAURIE.     No.     (Going  R.J 

Jo.    Not  Ned  Moffat's  sister?    Oh,  I  hope  not. 

LAURIE.     Guess  again.     Come  nearer  home. 

Jo.     Not  Amy? 

LAURIE.  (Simply)  Who  else  could  it  be,  Jo? 
Haven't  you  seen? 

Jo.  Teddy,  dear,  I  am  so  glad.  When  did  you 
first  find  out? 

LAURIE.  I  don't  just  know,  but  I  began  to  sus- 
pect when  we  were  at  Valrosa.  Such  a  day!  My 
faith !  But  wasn't  it  love  among  the  roses  ?  (For  a 


120  LITTLE  WOMEN 

moment  LAURIE  forgets  Jo  and  goes  into  a  raptur- 
ous day  dream.  Jo  raises  her  hands  comically,  tries 
to  slip  away  up  c.,  but  LAURIE  catches  her  dress  and 
pulls  her  back — they  laugh)  Jo,  dear — (Pauses, 
hand  on  her  shoulders) — I  want  to  say  one  thing 
and  then  we'll  put  it  by  forever.  I  never  shall  stop 
loving  you,  but  the  love  is  altered,  and  I  have  learned 
to  see  that  it  is  better  as  it  is. 

Jo.  (Quickly,  boyishly)  I  tried  to  show  you, 
Teddy ;  but  you  wouldn't  listen. 

LAURIE.  I  think  it  was  meant  to  be  and  would 
have  come  about  naturally  if  I  had  waited,  but  I 
never  could  be  patient  and  so  I  got  a  heartache. 
Upon  my  word,  I  was  so  tumbled  up  in  my  mind  at 
one  time  that  I  didn't  know  which  I  loved  best,  you 
or  Amy,  and  tried  to  love  both  alike.  (They  laugh) 
But  when  I  saw  her  in  the  old  chateau  garden  at 
Valrosa,  everything  seemed  to  clear  up.  You  both 
got  into  your  right  places,  and  I  felt  sure  I  could 
honestly  share  my  heart  with  sister  Jo,  and  wife 
Amy,  and  love  them  both  dearly.  Will  you  believe 
it,  and  go  back  to  the  happy  days  when  we  first  knew 
one  another? 

Jo.  I'll  believe  it  with  all  my  heart — (Puts  hands 
on  LAURIE'S  shoulders) — but  Teddy,  we  never  can 
be  boy  and  girl  again.  We  are  man  and  woman  now, 
with  sober  work  to  do  and  we  must  give  up  frolick- 
ing. We  can't  be  playmates  any  longer,  but  we  will 
be  brother  and  sister,  to  love  and  help  one  another  all 
our  lives,  won't  we?  fjo  kisses  LAURIE,) 

^BHAER  enters  again,  at  back  L.  upper,  sees  and  hears 
the  following.) 

LAURIE.  We're  going  to  be  married  right  away. 
I  can't  wait.  (Kisses  Jo) 

stops  aghast,  throws  up  both  hands.) 


LITTLE  WOMEN  121 

Jo.  Of  course  you  can't — you  always  have  thing's 
your  own  way. 

(Exit  both  together  R.I.,  talking  and  laughing,  LAU- 
RIE having  tucked  Jo's  hand  under  his  arm.  As 
they  disappear  BHAER  comes  forward.  He  has 
a  large  zvhite  sun  umbrella  under  his  arm,  one 
of  the  kind  foreigners  use,  lined  with  green. 
As  he  comes  across  the  bridge  he  walks  deject- 
edly toward  seat  R.  and  drops  down  on  it — 
looks  after  them  sadly — sighing) 

BHAER.  Ach,  as  I  feared !  There  is  no  place  in 
her  heart  for  an  old  fellow  like  me. 

Jo.  (Comes  backing  on,  re-entering)  Oh,  Mr. 
Bhaer — (Pause — bumps  into  him  and  sits) — I  was 
looking  for  you. 

BHAER.  (Rousing  himself  and  trying  to  look 
cheerful)  And  I  for  you,  Mees  Marsche. 

Jo.  (Sits  beside  him,  ill  at  ease,  and  trying  to 
make  conversation)  I  was  afraid  you  had  gone. 

(They  do  not  look  at  each  other.    This  scene  must 
be  played  briskly) 

BHAER.  (Reproachfully)  Do  you  believe  I 
should  go  with  no  farewell  to  those  who  haf  been 
so  Heafenly  kind  to  me? 

Jo.  (Taking  off  hat)  No,  I  didn't,  really,  but  I 
know  you  are  busy  with  your  own  affairs  since  you 
came  East. 

BHAER.  I  haf  hoped  to  come  one  time  yet  be- 
fore I  go. 

Jo.     You  are  going,  then? 

BHAER.  (Sadly,  hand  on  heart)  I  haf  no  longer 
any  beezness  here — it  is  done!  (jo  tries  to  hide  her 
emotion — pause,  brushes  her  tears  away — BHAER 
gets  his  handkerchief  out  and  mops  face)  De  sun, 
he  is  very  hot,  Mees  Marche fBHAER  raises  the 


122  LITTLE  WOMEN 

sun  umbrella)  May  I  not  offer  you  this  shade?  (A 
little  pause  is  broken  only  by  the  distant  sound  of 
voices  and  the  autumn  song  of  whirring  insects  and 
of  birds)  Mees  Marche,  I  haf  a  great  favor  to  ask 
you.  (Each  time  his  tone  suggests  a  proposal,  and 
then  he  turns  it  off) 

Jo.  (Looking  up  expectantly,  gladly)  Yes, 
sir ? 

BHAER.  (Hesitatingly)  I  am  bold  to  say  it,  be- 
cause so  short  a  time  remains  to  me. 

Jo.     Yes,  sir ? 

BHAER.  You  remember — the  little  Tina  at  Mrs. 
Kirk's? 

Jo.  (Dryly)  Oh,  yes !  The  little  girl  you  played 
menagerie  with  and  who  called  you  her  "EfTalunt." 

BHAER.  (Tenderly)  Yes,  my  little  Tina.  She 
luf  to  ride  on  my  back.  Tina's  mother,  she  is  so 
poor,  I  wish  to  get  a  little  dress  for  my  Tina,  but  I 
am  too  stupid  to  go  alone.  Will  you  kindly  gif  me 
a  word  of  taste  and  help  ? 

Jo.     I'll  gladly  help  you,  sir. 

BHAER.  Ah,  das  ist  aber  nicht  von  einen 

(Very  tenderly — then  changes)  Perhaps  also  a 
shawl  for  Tina's  mother,  she  is  so  very  poor  and 
the  husband  such  a  care.  Yes,  a  tick,  warm  shawl 
would  be  a  friendly  ting,  you  tink  so?  (Looks 
at  Joj 

Jo.     (Dryly)     Oh,  yes,  a  very  friendly  thing. 

BHAER.  Mees  Marche,  may  we — may  we — 
(Then  quickly) — go  what  you  call  shopping  toged- 
der? 

Jo.  I  will  go  shopping  with  you  with  pleasure, 
Professor  Bhaer. 

(Rises, — she  begins  picking  apples  R.  of  bench  and 
putting  them  in  a  basket,  rising  and  stooping  at 
her  task.  The  PROFESSOR  sees  her,  rises  quickly, 
"with  his  umbrella  up,  stands  over  her,  the  um- 


LITTLE  WOMEN  123 

brella  bobbing  absurdly  as  he  tries  to  shield  her 
from  the  sun;  he  gives  it  up  and  stands  L.C. 
sadly.  Basket  with  handle  on  stage  R.  at  rise — 
also  a  pile  of  apples.) 

BHAER.  And  Mees  Marche,  dere  is  something 
more  I  would  make  so  bold  as  to  ask  you. 

Jo,  (R. — again  expectant — standing  up  with  bas- 
ket in  her  hand)  Yes — sir ? 

BHAER.  May  we — may  we — make  dat  shopping 
trip  to-morrow  ? 

Jo.  Yes,  if  you  like (Turns  R.,  starts  pick- 
ing apples  again) 

BHAER.  I  would  like  it  much.  Pardon  de  haste, 

but  I  haf  so  little  time (Pause)  I  haf  made 

up  my  mind  to  go  away  from  here.  (Looking  away 
— Jo  stoops  to  pick  up  apples  again — she  is  crying 
and  trying  to  hide  her  face  from  BHAER.  Another 
pause.  Jo  drops  apple,  which  turns  PROFESSOR  to 
her  again,  taking  hold  of  basket)  May  I  not  take 
from  you  dis  burden?  (As  he  bends  he  gets  a 
glimpse  of  her  face — a  total  change  of  tone — ten- 
derly) Heart's  dearest,  why  do  you  cry? 

Jo.  (Sobbing)  Because — because — you  are  go- 
ing away 

BHAER.  (With  a  great  burst  of  joy,  throwing 
basket  away  tip  stage  R.  Ach,  Gott,  dot  is  so  good ! 
(Gets  umbrella  back,  afraid  of  himself — in  his  ex- 
citement gesticulating  and  spreading  his  arms  wide 
— umbrella  in  L.  hand  turned  upside  down)  Jo,  I 
have  nothing  but  much  lof  to  give  to  thee,  and  I 
came  to  see  if  thou  couldst  care  for  it,  and  I  waited 
to  be  sure  that  I  was  something  more  than  a  friend. 
Am  I  ?  Canst  thou  make  a  little  place  in  thy  heart 
for  Old  Fritz  ? 

Jo.  Oh,  yes !  (She  kisses  him  impulsively — and 
he  looks  at  her  with  all  his  love  in  his  eyes — they  sit 
on  bench) 


I24  LITTLE  WOMEN 

BHAER.  Endlich — Endlich!  (Puts  up  umbrella 
and  they  sit  behind  it.  A  little  silence  while  they  sit 
behind  the  umbrella  R.I.,  broken  only  by  fond  'mur- 
mured words,  that  tire  half  inaudible)  My  Jo! 

Jo.     My  Frederick ! 

(BHAER  kisses  Jo  and  LAURIE  and  AMY  come 
R.I.  and  spy  them  on  seat  behind  umbrella; 
they  beckon  BROOKE  and  MEG  and  MR. 
and  MRS.  MARCH,  who  have  come  strolling 
in  from  L.  upper  on  the  platform.  They  all 
steal  down  on  Jo  and  BHAER.  MR.  LAURENCE 
and  HANNAH  come  from  L.I.,  through  gate,  as 
they  reach  positions.  LAURIE  and  AMY  start 
to  laugh.  BHAER  and  Jo  look  right  at  them. 
BROOKE  and  MEG  take  up  laugh  louder,  and  then 
MR.  and  MRS.  MARCH  and  MR.  LAURENCE  and 
HANNAH  laugh  crescendo  until  it  reaches  a 
shout  from  all.) 

(Positions  for  Laugh:  AMY,  LAURIE,  Jo  and  BHAER, 
MEG  and  JOHN,  MR.  and  MRS.  MARCH,  MR. 
LAURENCE,  HANNAH.  All  the  action  takes  place 
very  quickly  from  now  on.  PROFESSOR  lowers 
umbrella.) 

Jo.     Christopher  Columbus! 

(After  general  laugh,  Jo  rushes  c.  MR.  MARCH 
stops  her,  MR.  and  MRS.  MARCH  embrace  Jo — 
Jo  goes  R.C.  ;  LAURIE  goes  to  her  and  hugs  her. 
BHAER  goes  to  R.,  shakes  hands  with  AMY,  MEG 
and  BROOKE.  LAURIE  and  BHAER  shake  hands. 
LAURIE  goes  to  back  to  AMY  R.,  and  BHAER 
joins  Jo  R.  of  c.) 

LAURIE.  Hurrah !  Hurrah !  I  knew  it — I  knew 
it — I  knew  it!  (Shakes  hands  with  BHAER,)  I  told 
you  so  four  years  ago,  didn't  I,  Jo?  (Jo  is  confused, 
but  too  happy  to  express  her  feeling.)  Professor, 


LITTLE   WOMEN  125 

you've  got  one  girl  in  a  million !  Except  for  mine — 
(Going  to  AMY  R.,  looking  over  lovingly  at  JoJ — 
her  equal  isn't  on  earth. 

BHAER.  (c.  As  he  tucks  Jo's  hands  under  his 
arm)  I  know  dot,  my  friend. 

LAURIE.  What's  the  plan?  Why  not  a  double 
wedding  ? 

(MR.  and  MRS.  MARCH  note  this  in  glad  surprise.) 

BHAER.  My  Jo — ha,  ha — that  dear  funny  little 

name (Bus.  of  patting  her  hand — speaks 

quickly)  My  Jo  and  I,  we  are  very  simple  folk,  you 
see,  and  a  grand  wedding  is  not  for  us.  My  Jo,  she 
have  her  heart  set  on  this  school,  and  me  to  teach 
him.  I  haf  a  little  money,  not  much,  but  I  tink  per- 
haps it  may  be  done  as  she  wishes. 

LAURIE.  (Down  R.)  Three  cheers  for  the  Bhaer- 
garden.  (Turns  to  the  others)  Come  on,  every- 
body, join  hands — and  dance  around  the  lovers.  (He 
catches  AMY  by  the  hand  and  AMY,  MR.  LAU- 
RENCE'S hand  and  they  draw  the  others  in  as  they 
dance  merrily  around  Jo  and  BHAER,  singing  "Du 
Du  leigst  mir  am  hertzen" — On  second  time  around 
the  older  ones  are  breathless.  Jo  steps  forward, 
draws  MR.  and  MRS.  MARCH  into  the  ring,  and  she 
and  the  PROFESSOR  join  the  circle,  MARCH  bends  and 
kisses  his  wife.)  What's  this?  Another  pair  of 
lovers  ? 

Jo.     Yes,  and  it's  Grandma's  birthday. 

MARCH.  (Tenderly)  Long  life  to  her  and  every 
happiness. 

(Takes  MRS.  MARCH  in  his  arms — others  all  dance 
round  father  and  mother,  singing  "Auld  Lang 
Syne" — then  separate,  with  apparent  uncon- 
sciousness into  groups;  Jo  and  BHAER  L.  on  one 
side  of  MRS.  MARCH  who  has  c.  of  stage;  LAU- 
RIE and  AMY  R.  corner  side  of  her;  MEG  and 


126  LITTLE  WOMEN 

BROOKE,  together  a  little  at  one  side;  MARCH 
leaning  over  his  wife;  MR.  LAURENCE  and  old 
HANNAH  upstage  L.,  looking  smilingly  on — MRS. 
MARCH  stretches  out  her  hands  as  if  to  gather 
the  whole  group  into  her  embrace.  She  looks 
at  MEG  and  BROOKE,  LAURIE  and  AMY,  Jo  and 
BHAER,  her  voice  trembles  with  joyful  feeling.) 

MRS.  MARCH.  Oh,  my  girls !  My  girls !  (On 
this  cue  start  "Auld  Lang  Syne,"  very  piano,  swell 
as  curtain  comes  down,  playing  through  calls)  How- 
ever long  you  may  live,  I  can  never  wish  you  a 
greater  happiness  than  this. 

(Pause — ROBIN  sings — -MR.  MARCH  clasps  MRS. 
MARCH'S  hands  tenderly — all  thinking  of  BETH. 
Hold  picture  for  curtain — and  the  music 
swells.) 

MEDIUM  CURTAIN 


MEG  and  BROOKE          MRS.  MARCH  and  MR.  MARCH 
AMY  and  LAURIE          MR.  LAURENCE  and  HANNAH 

Jo  and  BHAER 

END  OF  PLAY 


PROPERTY   PLOT 
ACT    I 

Ground  cloth  down  for  Act  4;  faded  carpet  of 
old-fashioned,  flowered  pattern  for  Acts  I,  2,  and  3. 
Faded  damask  curtains  for  both  windows,  also  loops 
for  same. 

Lace  curtains  and  brass  rods  for  both  windows. 
One  pair  of  lace  curtains  and  one  pair  of  embroid- 
ered curtains  for  dining  room  window  off  R.3,  and 
rods  for  same. 

Bookcases  over  R.  and  L.ist  doors,  and  over  dining1 
room  doors,  rilled  with  books. 

ON  MANTEL  R.2. 

One  gold  clock  set  at  5  o'clock. 

One  small  white  statue  of  Venus. 

Two  candelabra. 

One  match-bowl  with  sulphur  matches. 

One  old-fashioned  vase. 
IN  FRONT  OF  FIREPLACE  R.2. 

Andirons. 

Fenders. 

Bellows. 

One  brass  coal-scuttle. 

One  set  of  fire  tools,  tongs,  poker,  stand,  all  in 
brass. 

One  pair  of   slippers    (Marmee's)    placed  on 
fender  to  warm. 

One  red  rug. 
IN  FRONT  OF  FIREPLACE  DOWN  STAGE. 

Small  green  footstool. 

Small  cradle  with  doll. 
127 


128  LITTLE   WOMEN 

Small  upholstered  stool. 

One  work  basket,  with  darning  cotton,  scissors, 
needles  and  stocking  (for  Beth)  darning 
needles. 

Patchwork  quilt  for  doll's  cradle. 
IN  JOG  BETWEEN  DOORS  R.I  AND  FIRE- 
PLACE. 

Bookcase  with  prop  books  fastened  to  screen. 
IN  FRONT  OF  FIREPLACE  UPSTAGE. 

One  large  high-back  upholstered  armchair. 

Manuscript  and  pencil  in  same  (for  Jo). 

Small  round  table,  with   fruit  dish  and  prop 
apples,  and  two  real  apples  in  same,  with  fruit 
knife. 
BAY  WINDOW  RIGHT-CENTRE. 

Four  pots  of  roses  on  window  sill. 

Four  china  saucers  under  flower  pots. 

Practical  rose  in  one  pot  (for  Beth). 

Cushion  seat  in  bay  window  covered  with  old- 
fashioned  cretonne  flowered  material,  cover- 
ing seat  and  reaching  to  floor  in  front. 

Sofa  pillows  and  old-fashioned  shawl  on  seat. 

Rag  green  rug  in  front. 

2  small  china  figures  on  window  sill  L. 

Bookcases  R.  and  L.  and  over  bay-window  filled 

with  books. 
RIGHT  OF  BAY-WINDOW  RIGHT  CENTRE. 

One  upholstered  chair. 

In  niche,  bust  of  Plato. 

Small  vase  in  niche. 

Snow  effect  in  window  Right  Centre. 
LEFT  OF  BAY-WINDOW  RIGHT  CENTRE. 

Small  oblong  table. 

Modeling 'clay  and  tools  on  same  (for  Amy). 

One  upholstered  chair. 

One  bookcase  fastened  to  scene,  prop  books  in 
same;  bust  of  Shakespeare  at  right  end  of 
top  shelf. 


H 
H 


LITTLE   WOMEN  129 

Under  bbokcase  one  small  hanging  picture  and 
some  of  Amy's  drawings,  fastened  to  scene. 

Piano,  old-fashioned  cottage  piano,  with  candle- 
sticks, against  stairway.  Piano  stool. 

Crochet  mat. 

One  scarf,  one  vase  with  flowers,  one  writing- 
case,  the  old-fashioned  writing-box  that  un- 
folds, with  foolscap  paper  and  quills  (for 
Jo). 

Bust  of  Mozart  on  piano,  also  music  books  and 
old-fashioned  lamp. 

One  upholstered  chair  below  piano. 

What-not,  with  suitable  bric-a-brac. 

Small  picture  under  niche  above  staircase. 
UNDER  STAIRWAY. 

Three-cornered  seat  in  corner  under  stairway. 

Cushion  covering  seat  same  as  in  bay-window, 
right  centre. 

Three  sofa  pillows. 

Amy's  jacket,  hood  and  mittens  (red)  ;  Beth's 
jacket,  hood  and  mittens ;  Jo's  cloak,  bonnet 
and  mittens ;  hanging  on  rack  in  closet  under 
stairway. 
DESK  AT  WINDOW  L.2. 

Seat  in  window  L.2D,  with  cushions  same  as  in 
bay-window. 

Paper  and  envelopes  inside  of  desk. 

One  quill,  pad  and  pencil,  foolscap  paper,  sev- 
eral documents,  paper,  paper-cutter  and  one 
sand-shaker. 

Inkwell  on  top  of  desk. 

One  upholstered  chair  for  desk. 

One  upholstered  chair  below  desk. 

Quill  pens. 

One  what-not  hanging  on  scene  in  jog  below 
desk. 

One  little  old-fashioned  teapot  and  bric-a-brac 
on  same. 


i3o  LITTLE  WOMEN 

One  small  bookcase  made  of  spools  hanging  on 

scene  above  desk. 
TABLE  CENTRE  (Round  mahogany  centre  table 

with  one  centse  leg). 
One  large  Bible. 

One  cloth-bound  book  for  Jo  to  throw  on  floor. 
One  wooden  dagger. 
One  work-basket,  thimble,  scissors,  embroidery 

and  vial  in  same  (for  Meg). 
One  wooden-armed  chair  L.  of  table. 
One  drawing-board  in  chair  left  of  table,  with 

partly-finished  drawing  of  Venus  attached  to 

same,  and  drawing  pencils  (for  Amy). 
Box  of  drawing  pencils. 
One  upholstered  chair  back  of  table. 

PROPS  OFF  STAGE— ACT  I 
L.I. 

Bouquet  of  flowers  (chrysanthemums)  for  Laurie. 

One  cardboard,  with  picture  of  the  Madonna (  for 
Laurie). 

Sealed  envelope  with  note  enclosed  for  Meg. 

Manuscript  paper  for  Brooke. 

Telegram  in  envelope  for  Hannah  (regular  West- 
ern Union  form,  which  has  not  changed). 

Two  bottles  of  wine,  one  flask  of  brandy,  old- 
fashioned  dressing-gown,  old-fashioned  knit 
slippers,  muffler,  for  Mr.  Laurence. 

One  roll  of  paper  money  (five  bills)  for  Jo. 

One  roll  of  paper  money  (five  bills)  and  a  made- 
out  check  for  Aunt  March. 

One  black  crooked4iandle  cane  for  Aunt  March. 

One  straight  silver  or  gold-knobbed  cane  for  Mr. 
Laurence. 

One  small  piece  of  Jo's  hair  for  Jo. 

Snow  cloth  and  door-mat  outside  of  door. 

Snow  effect  on  seat  outside. 

Bag  of  salt  for  snow  effect  for  Jo. 


LITTLE   WOMEN  131 

ON  PLATFORM  OFF  STAGE  UP  L. 

Crash  effect. 

One  small  haircloth  trunk. 

One  small  brooch  with  locks  of  hair  inside,  for 

Beth. 

One  witch's  beard,  cloak  and  hat,  for  Meg. 
Small  old-fashioned  traveling  bag,  for  Amy. 
Paisley  shawl  and  bonnet  (Marmee's)   for  Amy 

(Wardrobe). 

Jo's  chapeau,  cloak,  jacket,  boots  and  one  chair. 
Sleigh  bells  for  effect  off  L.,  also  crash  effect. 

DINING  ROOM  R.3. 

One  sideboard,  and  white  cover  for  same. 

One  large  black  tray. 

Small  tea  tray,  with  cup,  saucer,  teaspoon  and 

napkin  for  Meg. 
Toasting-fork  and  five  slices  of  bread  on  plate  for 

Beth. 

Glass  bowl  with  flour  for  Hannah. 
China  bowl  with  cracker  crumbs  for  Jo. 
Tumbler  with  water  for  Laurie. 
One  glass  vase. 
Two  candlesticks. 

ALL  THE  ABOVE  ON  SIDEBOARD 

One  prop  turkey  for  Hannah. 
One  triangle  for  clock  strike. 
One  old-fashioned  doorbell  for  effect. 
One  white  rag  rug. 

OFF  R.I. 

Hospital  supplies  in  paper,  consisting  of  bandages, 
cotton,  etc.,  for  Marmee. 

One  red  rug,  or  black-and-white  rag  rug. 

Twelve  framed  pictures  to  hang  on  scene  accord- 
ing to  numbers. 


132  LITTLE  WOMEN 

ACT  II— SCENE  I 
CHANGES 

Strike  Meg's  witch's  cloak,  wig  and  beard. 

Strike  flowers  on  small  table  above  fireplace  and 
place  vase  back  on  mantel  R.2. 

Strike  small  candle,  toasting  fork,  plate,  bread  and 
slippers. 

Place  match  bowl  back  on  mantel   from  centre 
table. 

Hang  girls'  hats,  cloaks,  etc.,  in  closet  under  stair- 
way. 

Bring  glass  vase  from  niche  R.3D  Right  of  bay- 
window,  R.C.,  and  place  on  centre  table. 

Strike  Beth's  work-basket  to  R.I  ST. 

Strike  armchair  at  fireplace,  and  bring  on  small 
settee  in  its  place. 

Bring   on    Marmee's    work-basket,    with    needle, 

darning    cotton,    stockings    and    china    darning- 
egg,  table. 

Leave  small  piece  of  paper  on  right  side  of  table 
for  Mr.  March  to  put  apple  peelings  on. 

Place   Meg's  work-basket,   with   embroidery,    on 
desk  L. 

Leave  apples  and  fruit  knife  on  small  table  above 

fireplace  for  Mr.  March. 
OFF  STAGE  LEFT  i. 

Three  pink  roses. 

Spread  Eagle  newspaper. 

One  envelope  containing  checks. 

Three  stamped  envelopes  (all  for  Laurie). 
ON  PLATFORM  3. 

One  pair  of  ice  skates  for  Amy.     (Old-fashioned 

wooden  frame  skates.) 
OFF  STAGE  R.I. 

One  large  old  Paisley  shawl  (for  Beth). 

Jo's  writing  case,  with  quills,  foolscap  paper,  etc. 

One  spool  with  pins  in  one  end  and  colored  yarn 
(for  Beth). 


LITTLE   WOMEN  133 

OFF  STAGE  R.3. 
One  milk-pan,  with  plaster  Paris  in  same,  for 

Amy's  foot. 
Note. — One  of  Amy's  slippers  should  be  molded 

into  the  plaster  Paris,  with  strings  attached 


ACT  II— SCENE  II 

Place  Meg's  workbasket  on  R.  side  of  table  c. 

Marmee's  basket  at  back  side  of  table  c. 

Jo's  writing  case  L.  side  of  table  c. 

Remove  drawing  of  Venus  from  Amy's  drawing- 
board  and  leave  blank  sheet  of  drawing  paper 
on  same. 

Bring  on  four  pots  of  pink  flowers  for  bay-win- 
dow R.C. 

OFF  STAGE  L.I. 

One  volume  of  Schiller,  wrapped  up  in  a  copy  of 

the  Spread  Eagle,  for  Bhaer. 
Rattle,  wrapped  in  brown  paper,  for  Laurie. 
Skein  of  pink  wool  wrapped  in  paper,  for  Meg. 

OFF  STAGE  R.3. 
Crumpled  note  for  Jo. 

OFF  STAGE  R.I. 

Old  book,  Dickens'  Pickwick  Papers,  for  Mr. 
March. 

OFF  R.i. 

Flower  basket  for  Beth. 

Note. — No  change  of  furniture  for  this  scene. 

Take  off  snow  from  window  R.C.  and  snow 

cloth  from  outside  door,  R.I. 


134  LITTLE  WOMEN 

ACT    III 

CHANGES  OF  FURNITURE. 

Move  centre  table1  about  one  foot  to  the  left. 

Bring  black  haircloth  sofa  on  and  place  in  front  of 
bay-window,  R.c. 

Place  on  couch  sofa  pillows  and  afghan  from  win- 
dow-seat, also  Beth's  small  white  pillow. 

Place  Jo's  writing-case  on  left  of  table  L. 

Strike  settee  at  fireplace  and  bring  in  large  arm- 
chair in  its  place. 

Strike  sofa  pillow  in  armchair. 

Strike  four  pots  of  crysanthemums  in  window,  R.c. 

Bring  four  pots  of  roses  in  place  with  saucers. 

OFF  STAGE  L.I. 

One  broom,  one  dust-pan,  one  dust-cloth,  for  Han- 
nah. 
One  bunch  of  forget-me-nots  for  Bhaer. 

ON  MANTEL  R.2. 

(New)  book  of  Schiller  wrapped  in  paper  with 
twine,  light  twine  to  be  broken  easily,  and  three 
addressed  envelopes. 

On  small  table  left  of  bay-window,  Amy's  draw- 
ing board  with  picture  of  Madonna,  and  draw- 
ing pencils. 

ON  PLATFORM  OFF  L.S. 

One  large  pillow  with  pillow  slip  (white),  with 
two  babies  on  same,  fully  dressed.  Have  card- 
board inside  of  pillow  slip  to  stiffen  it. 

One  small  pillow  and  covering  for  babies. 

Two  three-cornered  blankets  for  babies'  heads. 

Blue  and  white  afghan  to  cover. 

Pink  and  blue  ribbons  on  dolls'  arms. 


LITTLE   WOMEN  135 

OFF  R.i. 

Beth's  work-basket,  containing  baby  jacket,  needle, 
thread  and  scissors. 

Shawl  for  Mr.  March — old  Paisley  shawl. 
OFF  STAGE  EFFECTS. 

Bird  effect  of  robin,  back  centre  on  cue. 

Bird  effect  on  cue  at  end  of  act,  back  centre. 


ACT   IV 

Ground  cloth. 

Grass  mats  to  cover  platform. 

Flowers  and  vine  for  wall. 

24  grass  mats. 

Prop  apples  on  ground  R.  and  some  real  apples. 

Cricket  effect  on  curtain  up. 

Bird  effect  on  cue. 

One  large  basket  filled  with  prop  apples  down  R. 
by  tree. 

One  empty  market  basket  by  tree  down  R. 

One  bench  under  tree  down  R. 

Three  stacks  of  prop  apples,  R.L.  and  c. 

Two  mats  for  runway. 
OFF  STAGE  L.I. 

One  large  lunch  basket,  for  Hannah. 
OFF  STAGE  LEFT  3. 

One  white  umbrella  for  Bhaer. 


CHARACTER  TYPES  NECESSARY  FOR 
THE  PLAY 

JAMES  LAURENCE: 

A  slender,  stately,  courtly  old  man,  well-dressed 
in  old-fashioned  style;  a  gentleman  of  the  old 
school.  Carries  a  gold  or  silver-headed  walk- 
ing stick. 


136  LITTLE  WOMEN 

MR.  MARCH: 

White-haired,  scholarly,  gentle;  his  clothes  worn, 
neat  and  rather  clerical  in  cut ;  wears  spectacles ; 
his  voice  low,  soft,  refined. 

JOHN  BROOKE: 

About  25;  brown  eyes,  good-looking,  pleasant, 
with  rather  dry  humor ;  unassuming  in  manner ; 
neatly,  simply  dressed;  appearance  that  of 
quiet,  kindly,  home-loving  man. 

LAURIE : 

About  1 8  at  opening  of  play:  tall,  broad-shoul- 
dered, slender,  dark,  his  black  eyes  and  curly 
hair  indicating  the  Italian ;  almost  a  dandy  in 
respect  to  dress,  but  wears  his  clothes  uncon- 
sciously; charming  manners,  his  boyishness  at 
beginning  developing  into  the  attractive,  polished 
man  of  the  world,  unspoiled  by  flattery,  with  a 
boyish  spirit  always ;  full  of  fun,  with  merry 
smile  and  wheedlesome  ways ;  rather  moody 
sometimes,  but  keenly  alive  to  a  joke.  A  born 
tease. 

PROFESSOR  FRIEDRICH  BHAER: 
About  40.  Short,  stout,  rather  thickset,  with  quan- 
tities of  turbulent  gray-brown  hair  and  a  short, 
shaggy,  thick  gray  beard;  wears  gray  clothes 
that  are  mussy,  with  bulging  pockets;  speaks 
with  broken  German  accent ;  has  kindly,  benevo- 
lent face ;  type  of  man  one  could  trust  at  once 
and  children  would  adore. 

AUNT  MARCH: 

Rather  stout,  elaborately,  fussily  dressed;  little 
lame  from  gout ;  carries  long  ebony  staff  tipped 
with  gold,  or  a  crooked  cane,  on  which  she  leans 
heavily.  She  should  be  richly  dressed,  hand- 


LITTLE   WOMEN  '137 

some  India  shawl,  or  velvet  mantilla,  etc.  Car- 
ries a  reticule.  Sparkling  rings,  etc.  Every- 
thing suggests  she  denies  herself  nothing. 

MRS.  MARCH : 

Placid,  sweet-faced,  rather  stout,  motherly.  Her 
white  hair  is  worn  plain,  parted  in  middle. 
Plainly,  neatly  dressed ;  gentle  in  manner,  adored 
by  everyone.  The  centre  of  the  March  house- 
hold is  Marmee. 

HANNAH  MULLETT: 

Forty,  or  thereabouts,  type  of  old  family  servant, 
faithful  and  devoted  to  the  Marches.  An  Irish 
type.  Manner  respectful,  but  masterful;  ac- 
customed to  rule  the  March  girls  and  to  share 
in  the  household  joys  and  sorrows. 

MEG: 

Eighteen,  pretty,  plump,  fair,  with  blue  eyes  and 
brown  hair.  Womanly  in  make-up ;  industrious, 
affectionate.  Everything  about  her  subdued  and 
restful.  Wears  silver  gray,  white,  violet,  soft 
pastel  shades. 

JO: 

Seventeen,  tall,  thin,  brown,  with  decided  mouth 
and  eyes,  quick,  decisive  way  of  speaking.  Her 
hair  a  beautiful  chestnut ;  legs  and  arms  in  the 
way ;  awkward,  like  a  colt,  in  opening  act ;  an- 
gular, comical,  but  not  grotesque.  Boyish  man- 
ners ;  whistles  and  puts  her  hands  in  her  apron 
pockets.  A  thorough  tomboy,  but  this  modifies 
as  play  progresses,  effect  of  Beth's  illness  and 
death,  and  the  inevitable  results  of  the  growing- 
up  and  falling-in-love  process. 
BETH: 

Sixteen.  Little  Tranquility,  her  entire  make-up 
suggesting  the  family's  pet  name  for  her.  A 
quiet,  mouse-like  girl,  with  soft,  gentle  blue 
eyes,  shy  manners.  Rosy  in  first  act,  with  soft 


138  LITTLE  WOMEN 

brown  hair.  She  should  wear  brown  with  a 
touch  of  red  in  first  act.  Always  knitting, 
sewing  or  pottering  about  the  plants — never  idle. 
Shows  the  effect  of  illness  in  second  act,  and 
in  third  looks  white  and  worn. 
AMY: 

Fifteen,  fair,  blue  eyes,  golden  hair,  slender,  pretty, 
decidedly  prim  in  first  act.  This  modifies  as 
play  progresses,  until  she  becomes  a  graceful, 
charming  girl  in  the  third.  In  the  fourth,  an 
attractive,  beautiful,  cultured  woman,  with  a 
genius  for  dressing  and  making  the  most  of 
herself ;  well-poised  and  dignified,  with  all  trace 
of  self-consciousness  gone. 

CLOTHES  OF  CHARACTERS 

MR.  LAURENCE: 

White  wig — smooth  face — high  collar — stock  tie 
— dark  Prince  Albert — brocaded  vest — shirt  ruf- 
fles— light  trousers — light  gaiters.  In  Act  I — 
long  crocheted  woolen  scarf — carries  ebony 
cane  with  gold  or  silver  head — Should  have  at 
least  three  changes. 

MR.  MARCH: 

First  dress — black  trousers — long  dark  red  dress- 
ing-gown, rather  shabby — stock  and  black  tie — 
hair,  iron  gray  and  just  touching  collar — thin, 
tall  and  gentle,  with  fine  features.  Second 
dress — plain,  shabby  black  frock  suit — 3d  and 
4th  acts — gray  frock  suit,  with  black  velvet  col- 
lar and  cuffs. 

JOHN  BROOKE: 

Acts  ist  and  2d:  Dull  brown  or  green  frock  coat 
— cap — overcoat — soft  felt  hat — all  shabby-look- 
ing, but  neat — stock  collar  and  tie.  3d  act — 
frock  coat  and  brocaded  vest,  little  less  shabby. 
4th  act — another  change — same  style,  but  better 
— straw  hat. 


LITTLE   WOMEN  139 

LAURIE: 

First  act :  brown  trousers  and  vest — brown  short 
one — button  jacket — brown  cap — turn-down  col- 
lar and  dark  red  Windsor  tie — light  tan  over- 
coat, rather  short.  2d  act — light  tan  suit,  short, 
boyish  style,  with  brown  Windsor  tie.  3d  act — 
gray  trousers  and  blue  coat,  customary  style  of 
period — with  stock — gray  felt  hat.  4th  act — 
dark  blue  or  purple  suit,  with  stock  collar  and 
tie — straw  hat. 


PROFESSOR  BHAER: 

Second  act :  Mussy  gray  suit,  with  bulging  pock- 
ets ;  3d  act — shabby  black  frock  coat  with  black 
velvet  collar,  flowered  vest — stock  and  tie — old 
silk  hat — broad,  comfortable,  unstylish  boots  or 
shoes.  4th  act — light  linen  trousers — brown 
frock  coat — straw  hat — white  cotton,  green- 
lined  umbrella,  with  crooked  wooden  handle. 

AUNT  MARCH: 

Pink  and  white  make-up — white  hair-puffs  on  side 
— carries  gold-headed  or  black,  crooked-handle 
cane,  ist  act — blue,  green  or  purple  moire  pop- 
lin, or  watered  silk — very  full  skirt  and  basque 
{no  hoops) — very  full  white  petticoat,  with  three 
ftiffly  starched  ruffles.  (Note:  These  petticoats 
for  all  the  woman  characters.)  Over  dress  she 
wears  old-fashioned  velvet  or  brocaded  plush 
dolman — black  sash — mere  neck  scarf  with  pais- 
ley border  across  the  ends — scarf  about  eight 
inches  wide  and  two  yards  long — small  black 
bonnet  with  little  purple  tips — gloves  and  a  little 
silk  wrist  bag.  Old-fashioned  jewelry  and  loud, 
old-fashioned  earrings,  which  Meg  wears  in 
last  act — also  whatever  pin  or  neckchain  Aunt 
March  wears.  2d  act — light-colored  rich  plaid 


140  LITTLE  WOMEN 

silk — full  skirt  and  basque — light  or  white 
ground  Paisley  shawl — small  bonnet — small, 
old- fashioned  quizzing  glass  on  chain  or  rib- 
bon— cane  and 'bag  as  in  act  i.  Under  shawl 
little  black  silk  cape  or  wrap,  rather  be-ruffled. 
This  shows  when  she  lets  shawl  fall  off  in  scene 
with  Meg. 

MRS.  MARCH : 

Act  i — hair  parted  and  rolled  over  ears — and  in 
net  at  back — brown  in  acts  i,  2  and  3 ;  gray  in 
act  4.  Gray  woolen  dress  and  long  cloak,  cir- 
cular— plain  black  bonnet  and  black  cloth  bag. 
Prunella  shoes  and  red-lined  arctic  overshoes — 
old  slippers  at  fireplace — gray  stockings  with 
tie  toes  and  heels  (can  be  found  at  almost  any 
ten-cent  store) — small  black  sateen  apron — 
white  fichu.  Paisley  shawl  and  nicer  bonnet 
for  end  of  act.  Act  2,  first  scene,  same.  2d 
scene,  change  to  simple,  figured  gray  gown,  silk 
apron.  Act  3,  gray  and  black  or  purple  trimmed 
dress — simple  and  with  headdress.  Act  4, 
purple  and  black — and  bonnet.  All  dresses  a 
little  better  than  the  rough  gray  wool  of  act  i. 

HANNAH  MULLETT: 

Brown  sunburned  make-up — hair  parted  and 
twisted  very  tight  over  ears  and  into  small  tight 
knot  at  back,  ist,  2d  and  3d  acts,  dress  of  brown 
Jeans  cloth,  with  different-colored  aprons.  Act 
4,  blue  and  green  wash  dress,  small  check  or 
plaid.  No  bonnet. 

MEG: 

First  dress:  blue,  with  blue  and  white  striped  or 
plaid  ruffles — hair  net — long  black  cambric 
witch's  cloak  with  gold  paper  trimming — black 
peaked  hat  of  same.  (Note. — Act  2,  scene  2, 
Amy  wears  duplicate  of  Meg's  dress,  slightly 
altered,  but  easily  recognized  as  Meg's.)  2d  act : 


LITTLE   WOMEN  141 

Scene  i,  same.  Scene  2,  buff-colored  dress — 3 
flounces  trimmed  "with  coral  pink — coral  pink 
hat  with  white  silk  scarf  around  it — pink  scarf 
for  shoulders  and  black  shoes,  which  she  changes 
to  pink  as  she  goes  out.  (  Note. — Pink  wool  for 
her  to  wind.)  Act  4,  golden  brown  and  tan 
dress  trimmed  with  Persian  silk — hair  parted 
and  soft  around  face,  with  hair  net  in  all  sets. 
White  stockings  and  single-strap  slippers. 
JO: 

Act  i,  oxblood  red  woolen  dress,  very  plain, 
plain  white  collar — long  chestnut  hair  in  net. 
Boy's  suit — black  satin  breeches,  black  velvet 
jacket,  long  cloak  lined  with  red,  black  chapeau 
with  ridiculous  cockade — long  russet  boots. 
(Note. — Underdress — satin  knee  breeches  for 
boy's  dress — very  quick  change  to  be  made  on 
platform  upstairs.)  Heavy-soled  button  boots, 
old.  Prunella  shoes,  which  she  puts  on  after 
changing  back ;  no  time  to  button  shoes — gray 
stockings  like  Mrs.  March — gray  circular  wool 
cloak  with  bonnet  to  match,  with  embroidered 
curtain  at  back  of  head — brown  mittens  on 
black  string — short,  almost  Buster  Brown  wig, 
for  end  of  act,  also  first  scene  of  act  2 — same 
dress.  Act  2,  scene  2 — Green  sateen  writing 
apron  and  cap,  with  red  frills  on  apron,  which 
has  long  sleeves  and  is  built  to  cover  her  com- 
pletely— cap  has  big  red  bow.  Blue  and  white 
striped  dress  and  silk  Windsor  tie.  Red  dress 
shoe-top  length.  Second  dress  a  little  longer 
— last  two  to  the  ground.  Act  2,  scene  2,  hair 
to  shoulder  when  net  is  off — showing  it  is  grow- 
ing. Act  3d,  tan  striped  challie  or  delaine 
trimmed  with  brown  and  brown  bonnet  trimmed 
with  little  red  rosebuds.  Act  4,  lavender  figured 
challie  trimmed  with  apple-green — large  leghorn 
hat  trimmed  with  bow  and  strings. 


142  LITTLE  WOMEN 

BETH: 

Acts  i  and  2,  dresses  to  a  little  below  shoetops. 
Hair  in  net.  Act  I,  brown  woolen  dress,  white 
stockings  and  prunella  shoes — brown  knitted 
hood  with  gray  wool  jacket.  Act  2,  scene  I, 
soft  gray  dress  trimmed  with  blue;  scene  2, 
same  with  coral  pink,  checked  dainty  apron 
over  it.  Act  3,  pale  blue  long  princess  wrapper 
trimmed  with  narrow  black  velvet,  pretty  little 
lace  cape — white  wool  shoulder  shawl — hair 
falling  on  shoulders. 

AMY: 

Must  have  golden  curls,  quite  long — very  fair 
make-up — white  stockings.  (Note. — If  legs  are 
too  "womanly,"  have  her  wear  red  stockings  in 
first  act  and  scene  I  of  second  act.)  Dress  to 
calf  of  leg.  Act  i,  light  gray  wool  dress 
trimmed  with  scarlet-strap  slippers.  Act  2. 
scene  i — same,  but  with  heavy  woolen  stockings 
over  her  shoes,  brown  jacket,  pale  blue  crocheted 
hood  and  bright  red  mittens  on  string,  when  she 
goes  skating.  Act  2,  scene  2 — Meg's  blue  dress 
of  act  I,  slightly  altered — blue  gingham  apron 
covered  with  white  flour  and  plaster  for  first 
entrance.  Curls  slightly  tied  back — skirts, 
ankle-length.  Change  for  end  of  act  to  white 
silk  dress  draped  in  festoons  of  net  caught  with 
rosebuds.  Blue  silk  scarf  for  head — carry  bou- 
quet of  delicate  flowers  in  paper  holder.  Act 
3 — green  and  white  challie — hair  in  net — leg- 
horn hat.  Act  4 — Rose  and  figured  challie  skirt 
and  waist  trimmed  with  black  velvet — pink  taf- 
feta jacket  with  pink  rose  trimmings — white 
straw  bonnet,  trimmed  with  pink. 

Note. — Please  follow  the  colors  for  the  dresses  of 
the  four  girls  and  Mrs.  March  in  Act  ist.  This 
is  necessary. 

MC 


rj*- 


